B    3    3M2    E1S 


Fhe  Little  Gray  Lady 


:HANNING  POLLOCK 


«\MUEL  FRENCH,  28-30  West  38th  St.,  New  York 


Price,  6O  Cent's 
THE    LITTLE    GRAY  LADY 

A  PLAY  WITHOUT  A  HERO 


BY 

CHANNING  POLLOCK 


COPYRIGHT,  1905,  BY  CHANGING  POLLOCK 
COPYBIGHT,  1918,  BY  SAMUEL  FRENCH 


ALL  RIGHTS  RESERVED 


NEW  YORK 
SAMUEL  FRENCH 

PUBLISHES 

28-30  WEST  38TH  STREET 


LONDON 

SAMUEL  FRENCH,  LTD. 

26   SOUTHAMPTON  STREET 

STRAND 


Especial  notice  should  be  taken  that  the  possession 
ef  this  book  without  a  valid  contract  for  production 
first  having  been  obtained  from  the  publisher,  confers 
no  right  or  license  to  professionals  or  amateurs  to 
produce  the  play  publicly  or  in  private  for  gain  or 
charity. 

L. 

In  its  present  form  this  play  is  dedicated  to  the 
reading  public  only,  and  no  performance  of  it  may  be 
given,  except  by  special  arrangement  with  Samuel 
French. 

SECTION  28. — That  any  person  who  wilfully  or  for 
profit  shall  infringe  any  copyright  secured  by  this  act, 
or  who  shall  knowing^  and  wilfully  aid  or  abet  such 
infringement,  shall  be  deemed  guilty  of  a  misdemeanor, 
and  upon  conviction  thereof  shall  be  punished  by  im 
prisonment  for  not  exceeding  one  year,  or  by  a  rine  of 
not  less  than  one  hundred  dollars  nor  more  than  one 
thousand  dollars,  or  both,  in  the  discretion  of  the  court. 
Act  of  March  4,  1909. 


PREFACE 


To  one  person,  at  least,  the  perusal  of  the  follow 
ing  pages  has  been  a  pleasant  excursion  along  The 
Road  to  Yesterday. 

"  The  Little  Gray  Lady  "  was  my  first  original 
play.  (That  is,  it  was  my  first  original  play,  if  you 
will  be  kind  enough  to  except  a  crude  melodrama 
produced  in  my  adolescence  and  Proctor's  Fifty- 
eighth  Street  "Theater.)  It  was  begun  in  my 
twenty-second  year,  and  with  nothing  in  my  mind 
but  the  conviction  that  I  should  write  a  play.  My 
regular  occupation  was  securing  publicity  for 
William  A.  Brady,  who  had  just  presented  Wilton 
Lackaye  in  my  dramatization  of  Frank  Norris' 
novel,'"  The  Pit."  That  fortunate  debut,  I  argued, 
would  avail  me  nothing,  unless  it  was  followed, 
reasonably  soon,  by  another  opus. 

So,  with  my  mind  made  up,  and  a  promising 
period  of  summer  idleness  ahead,  I  sat  me  down 
to  write  a  play.  I  hadn't  the  faintest  idea  what 
the  play  was  to  be  about,  or  where  located.  In 
fact,  as  aforesaid,  I  hadn't  anything  but  a  con 
viction,  and  a  title — "The  Little' Gray  Lady."  My 
only  method  of  breaking  down  a  wall  is  to  beat 
my  head  against  it.  For  more  than  a  month  I  sat 
behind  a  locked  door,  in  my  apartment  on  Seventh 
Avenue,  from  nine  in  the  morning  until  six  at  night, 
and  tried  to  think  out  a  story.  The  books  and 
papers  about  me  proved  a  temptation,  so  they  were 
taken  out,  and,  on  the  theory  that  forbade  decora 
tions  in  the  Wagnerian  theater  at  Bayreuth,  the 
room  was  stripped  of  all  furniture  but  a  chair,  a 
table,  and  a  typewriter.  At  the  end  of  five  or  six 
weeks,  I  had  nerves,  but  no  narrative. 


357 


4  PREFACE 

An  old  friend,  a  physician,  told  me  the  important 
truth  that  the  best  way  to  find  an  idea  is  not  to 
look  for  it.  Dejected  and  discouraged,  I  deserted 
the  bare  work-shop,  took  a  train  to  Baltimore,  dis 
embarked  there,  and  started  to  walk  to  Washing 
ton.  On  the  way  came  something  of  a  theme. 
The  cause  of  its  coming  was  rather  personal,  but 
perhaps  you  will  forgive  that  phase  of  the  history. 
I  was  engaged  to  be  married  to  a  lady  who  con 
sidered  herself  plain.  She  wasn't,  and  isn't,  as  any 
one  who  knows  my  wife  will  tell  you,  but  that  is 
too  personal,  and  much  beside  the  point.  The  point 
is  that  she  thought  herself  plain,  and  that  I  was 
forever  telling  her  what  Mrs.  Graham  tells  Mrs. 
Jordan — that  "  a  girl  can  push  a  man  down  hill 
pretty  fast,  but  it  takes  a  woman  to  help  him  up." 

Here,  then,  was  a  thesis  with  the  advantage  of 
fitting  a  title  I  was  resolved  not  to  give  up.  The 
rest  came  in  Washington,  where  I  was  born,  had 
gone  to  school,  had  written  dramatic  criticism  for 
The  Post  and  The  Times,  and,  most  helpful  of  all, 
had  lived  in  boarding  houses  and  had  friends  who 
clerked  for  the  Government.  It  would  be  like  call 
ing  attention  to  Mont  Blanc  to  note  the  wisdom  of 
writing  only  of  the  things  you  know  well.  O. 
Henry's  prime  genius  lay  in  confining  himself  to 
the  romance  of  "  Bagdad  on  the  Subway,"  where 
he  was  familiar  with  every  twist  and  turn  of  street 
and  human  nature,  rather  than  seeking  it  in  Asiatic 
Turkey.  Washington's  boarding  houses,  and  what 
they  had  produced,  and  indicated,  in  their  inhab 
itants  was  a  forgotten  mental  reservoir  into  which 
water  had  flowed  during  the  most  impressionable 
period  of  my  life.  Once  the  dam  was  down,  came 
the  deluge. 

Within  twenty- four  hours,  I  had  my  play — a 
rushing  river,  to  keep  the  metaphor,  into  which 
flowed  the  futile  dreaming  of  Captain  Jordan,  the 


PREFACE  5 

prying  energy  of  Mrs.  Jordan,  the  vulgar  self- 
seeking  of  Ruth  Jordan,  the  eddying  of  Perry 
Carlyle,  caught  in  a  back-water,  and  the  infinite 
maternity  of  Anna  Gray.  I  knew  all  these  people- 
dozens  of  them — hundreds.  Each  was  a  type;  one 
of  a  group  that  had  sat  about  me  summer  evenings 
on  the  front  steps,  and  gone  "  car-riding "  _  for 
economical  diversion.  They  themselves  provided 
the  story.  It  remained  only  for  me  to  refresh 
memory  photographs,  confirm  detail,  and  question 
friends  in  the  Secret  Service  as  to  the  possibility 
of  occurences  connected  with  the  manufactured  bill. 
The  bill  itself  was  made  small  purposely.  :i  The 
Little  Gray  Lady  "  was  to  be  a  comedy  of  smaU 
people,  of  their  small  joys  and  sorrows  and  hopes 
and  fears  and  doings. 

Back  in  my  bare  room,  the  piece  was  finished 
within  a  fortnight.  I  had  not  then  acquired  the 
knowledge  of  good  work  that  leads  to  constant  and 
destructive  comparison,  nor  developed  the  faculty 
of  criticism  that  tears  down  more  than  it  can  build. 
I  was  not  forever  asking  myself  if  this  speech  could 
be  bettered,  or  that  situation  advantageously  re 
modeled.  I  wrote  because  I  did  not  know  how  to 
write ;  as  the  centipede,  in  the  verse,  ran  until  some 
one  asked  how  he  managed  his  legs.  But,  alas, 
neither  did  I  know  how  to  sell,  and  here  was  mer 
chandise  that  required  considerable  persuasive 
ability.  Anybody  can  dispose  of  a  play  like  every 
other  play.  The  fact  that  it  is  like  something  that 
made  a  hit  assures  the  average  manager  that  it,  too, 
will  make  a  hit.  But  the  man  who  produces  any 
thing  different  for  the  American  Theater,  anything 
fresh  and  original  and  without  precedent,  goes  into 
the  market-place  accompanied  by  the  Shadow  of 
Bankruptcy. 

So  far  as  any  actress  had  been  in  my  mind. 
"  The  Little  Gray  Lady  "  was  written  for  Phoebe 


6  PREFACE 

Davies,  then  in  her  third  or  fourth  season  of 
"  'Way  Down  East."  Miss  Davies  wanted  a  new 
vehicle,  but  her  husband  and  manager,  Joseph 
Grismer.  associated  with  my  employer,  Mr.  Brady, 
was  sure  of  "  'Way  Down  East."  Charles  Froh- 
man,  to  whom  the  piece  was  offered  for  Annie 
Russell,  declined  it,  only  to  tell  me  later,  when  he 
had  seen  the  play  and  sent  for  me,  that  he  had  never 
received  the  manuscript,  and  would  have  considered 
it  ideal  for  Miss  Russell.  A  list  of  producers  who 
declined  "  The  Little  Gray  Lady "  would  fill  my 
allotted  space,  as  a  list  of  their  reasons  would 
embrace  every  outstanding  feature  that  afterward 
figured  in  its  success.  Elisabeth  Marbury,  my  agent, 
finally  grew  weary — as,  indeed,  after  three  years, 
she  had  reason  to  be — and  suggested  that  we  retire 
my  unlucky  heroine  to  some  nice,  comfortable  desk 
drawer. 

Throughout,  her  imitation  had  the  unflagging  and 
unflinching  faith  of  the  original  Little  Gray  Lady. 
I  mention  this  impersonally  as  may  be,  and  in  the 
same  spirit  that  impells  me  to  mention  a  new 
champion,  my  second  agent,  Alice  Kauser.  Miss 
Kauser  believed  in  the  play,  kept  her  belief,  inspired 
with  her  enthusiasm,  and,  I  think,  invested  some  of 
the  necessary  capital,  when,  in  1905,  four  years 
after  it  was  written,  she  finally  found  a  producer  in 
Maurice  Campbell.  And  this  intrepid  adventurer, 
though  limited  as  to  means  and  influence,  and  with 
out  a  theater,  brought  to  the  piece  skilful  and  im 
aginative  direction  that  added  immeasurably  to 
whatever  value  it  may  have  possessed. 

;'  The  Little  Gray  Lady  "  was  acted  on  the  road 
in  the  Autumn  of  1905,  and  came  to  the  Garrick 
Theater,  in  New  York,  January  25th,  1906.  It  was, 
perhaps,  the  first  play  of  its  genre — of  everyday 
happenings  to  commonplace  people,  who  were  not 
the  rustics  of  James  A.  Herne,  nor  the  crowded 


PREFACE  7 

metropolitans  of  Edward  Harrigan,  but  more  c!ose1y 
paralleled  later  in  Rachel  Crothers'  charming  "  The 
Three  of  Us."  The  newspaper  verdict  on  the  per 
formance  was  practically  unanimous.  The  things  I 
had  liked,  and  feared— the  grayness  and  everyday- 
ness  of  story  and  characters ;  the  unimportance,  ex 
cept  to  them,  of  what  came  near  being  their  tragedy 
— were  taken  as  they  had  been  intended,  and 
criticism  universally  was  of  the  sort  authors  and 
actors  believe  in — which  is  to  say,  favorable.  That 
the  piece  made  a  somewhat  deeper  impression  than 
do  many  offerings  of  its  sort  has  been  gratifyingly 
indicated  this  year,  when  I  have  seen  two  pleasant 
mentions  of  it  in  books  of  comment,  one  of  them 
Walter  Prichard  Eaton's  "  The  American  Stage  To 
day."  It  gave  me  what  came  to  be  the  close  friend 
ship  of  a  great  and  generous  man,  Clyde  Fitch,  who, 
after  its  first  performance,  \vrote  to  the  apprentice 
in  his  shop,  "  Your  '  Little  Gray  Lady  '  is  a  very 
big  little  lady,  I  think." 

Anna  Gray  and  her  associates  did  not  make  much 
money  in  New  York.  For  one  reason,  Mr.  Camp 
bell,  as  aforesaid,  did  not  have  a  theater,  and,  be 
cause  the  owner  of  the  house  wanted  to  bring  in  a 
production  of  his  own,  we  were  obliged  to  leave  the 
Garrick  at  the  end  of  our  biggest  week.  The 
Majestic,  to  which  we  moved,  was  pretty  large,  and 
pretty  far  up-town.  Another  reason  I  see  now  in 
reading  the  comedy  after  sixteen  years.  "  A  Play 
Without  a  Hero  "  may  be  an  interesting  experiment, 
but  it  is  not  likely  to  be  popular.  Perriton  Carlyle 
was  made  what  he  is  because  his  type  is  common 
in  Washington,  and  exemplifies  conditions  in  de 
partmental  life  in  Washington.  Moreover,  because 
that  was  the  kind  of  man  to  call  forth  what  was 
best  in  Anna  Gray,  and,  finally,  because,  at  twenty- 
two,  I  had  more  tolerance  and  sympathy  for  weak 
lings  than  now.  Edgar  Selwyn,  since  become  a 


8  PREFACE 

playwright  himself,  originally  acted  Perry,  and  told 
me'then  that  making  a  hero  of  the  man  who  was  to 
marry  my  heroine  would  double  the  success  of  the 
play.  I  know  now  that  he  was  right.  I  know,  top, 
that  the  general  view  of  behavior  such  as  Perry's 
is  the  correct  view — that  this  behavior  is  symp 
tomatic,  and  more  likely  to  indicate  true  nature 
than  do  the  bits  of  square  conduct,  at  the  end, 
which,  in  those  days,  I  advanced  in  proof  of  redemp 
tion. 

In  spite  of  Carlyle,  however,  there  has  been  long 
life  in  "  The  Little  Gray  Lady."  The  Western  com 
pany,  headed  by  Pauline  Frederick,  did  very  well, 
and,  after  twelve  years,  the  piece  continues  so  great  a 
favorite  "  in  stock  "  that  hardly  a  week  elapses  that 
it  is  not  done  somewhere.  Personally,  and  quite 
frankly,  I  am  still  in  love  with  "  The  Little  Gray 
Lady  ",  because  of  the  lady  who  brought  her  into 
being,  and  because,  as  a  playwright,  she  brought 
me  into  being.  I  have  gained  literary  skill  and 
dramatic  craftsmanship  since  her  birth,  but  I  should 
be  happy  to  believe  that  I  had  lost  none  of  the  warm 
human  touch,  of  the  reporter ial  faculty,  that  shows 
in  these  pages.  To  me  Anna  Gray  has  been  what 
she  proved  to  Perry—"  The  Little  Gold  Lady." 

CHANNING  POLLOCK. 
The  Parsonage, 
Shoreham,  L.  I., 
April  3oth,  1918. 


THE  LITTLE  GRAY  LADY 
THE  ORIGINAL  CASTS. 

(Eastern    Company — Garrick    and   Majestic    The 
aters,  New  York,  beginning  January  2$th,  1906.) 

PERRITON  CARLYLE John  W.  Albaugh,  Jr. 

SAMUEL  MEADE William  Humphrey 

CAPTAIN  HENRY  JORDAN Charles  A.  Gay 

RICHARD  GRAHAM Robert  Ober 

MR.   UPTON Cyril    Vesina 

BOB,  an  urchin Harry  Wagner 

ANNA  GRAY Julia  Dean 

RUTH  JORDAN Dorothy  Donnelly 

MRS.  JORDAN Eva  Vincent 

MRS.  GRAHAM,  nee  Garruth Justina  Wayne 

Miss  WADLEIGH Rachel  Burr 

(Western  Company — Studebaker  Theater,  Chicago, 
beginning  March  12th,  1906.) 

PERRITON  CARLYLE Stephen  Gratten 

SAMUEL  MEADE Edward  Eisner 

CAPTAIN  HENRY  JORDAN Frank  Opperman 

RICHARD  GRAHAM Charles  D.  Pitt 

MR.  UPTON A.  Latschka 

BOB,  an  urchin Harold  De  Becker 

ANNA   GRAY Pauline  Frederick 

RUTH  JORDAN Ola  Humphry 

MRS.  JORDAN Eleanor  Sheldon 

MRS.  GRAHAM,  nee  Carruth Mary  Moran 

Miss  WADLEIGH   ..Helen  Leslie 


" Frequent  tears  have  run 

The  colors  from  my  life,  and  left  so  dead 
And  gray  a  stuff,  it  were  not  fitly  done 
To  give  the  same  as  pillow  to  thy  head." 

MRS.  BROWNING. 

"  A  man  made  weak  by  loving  and  then  strong  by 
being  loved." 

ARTHUR  SYMONS. 


10 


THE  LITTLE  GRAY  LADY 


THE  PERSONS 

PERRITON  CARLYLE 
SAMUEL  MEADE 
CAPTAIN  HENRY  JORDAN 
RICHARD  GRAHAM 
MR.  UPTON 

BOB   An  urchin 

ANNA  GRAY 
RUTH  JORDAN 
MRS.  JORDAN 

MRS.  GRAHAM Nee  Carruth 

Miss  WADLEIGH 

Certain  officials  at  the  Treasury  Department. 
THE  PLACES 


ACT      I.  The  "  back  yard  "  at  Mrs.  Jordan's. 

ACT    II.  Miss    Gray's    room — "  the    second    story 

front  " — at  Mrs.  Jordan's. 
ACT  III.  Part  of  the  Redemption  Agency  at  the 

Treasury  Department. 
ACT  IV.  The  "  back  yard  "  again. 

The  action  of  the  entire  play  occurs  at  Wash 
ington,  D.  C.,  on  an  afternoon  in  June,  and  on  the 
night,  the  afternoon  and  the  morning  of  three  suc 
cessive  days  in  October. 

ii 


THE  LITTLE  GRAY  LADY 


ACT  I 

SCENE  :  The  "  back  yard  "  at  MRS.  JORDAN'S.  Drop 
shows  the  rear  of  the  house,  a  red  brick 
structure  to  which  has  been  appended  a  wooden 
porch.  This  porch  is  reached  by  tivo  steps. 
Platforms  behind  the  drop  enable  people 
to  stand  back  of  the  second  story  windows  of 
the  dwelling.  The  curtains  at  these  windows 
are  drawn  down.  Sundry  articles  visiblt 
through  the  lower  windows  identify  the  room 
as  a  kitchen.  Pans  of  various  kinds  are  sus 
pended  from  the  posts  of  the  porch,  while  tubs, 
empty  bottles  and  a  clothes  horse  litter  up  the 
corners.  A  fence,  five  feet  high  and  newly 
white-washed,  built  of  boards  nailed  vertically, 
runs  from  the  drop  to  L.  I  E.,  while  another 
performs  a  similar  feat  between  the  drop  and 
R.  I  E.  These  fences  separate  this  "  back  yard  " 
from  those  of  the  neighbors,  which  are  indicated 
by  adjoining  houses  on  the  cloth  and  by  various 
details.  At  L.  c.  in  the  drop  is  the  entrance  to 
a  narrow  alley,  leading  to  the  street.  There 
is  one  tree  in  the  enclosure,  between  which  and 
the  fence  R.  is  hung  a  new  hammock.  At  c.  a 
bench.  The  yard  is  fairly  clean,  being  used 
generally  as  a  lounging  place.  It  is  6 : 30 
o'clock,  an  evening  in  June,  and,  as  the  act 
13 


i4  THE  LITTLE  GRAY  LADY 

progresses,  the  bronze  of  sunset  dissolves  first 
into  the-  gold  of  twilight  and  finally  into  the 
silver  of  moonlit  night. 

DISCOVERED:  A  pair  of  hands  is  seen  above  the 
fence  at  R.  removing  clothes  from  a  line.  CAP 
TAIN  JORDAN,  a  ruddy-cheeked,  white-mus 
tache  d  man  between  fifty- five  and  sixty,  is  dis 
covered,  fitting  on  the  edge  of  the  porch, 
engaged  in  freezing  ice  cream.  BOB,  a  bare 
footed,  not-overly-clean  urchin  of  fourteen,  is 
perched  on  the  fence  L.  MRS.  JORDAN'S  lodgers 
are  at  table  in  the  dining-room  beyond  the 
kitchen,  and,  whenever  the  door  between  these 
two  places  is  opened,  the  clatter  of  knives  and 
forks  and  the  noise  of  conversation  are  heard. 
Curtain  rises  during  silence  after  orchestra 
has  played  curtain  music.  A  woman  in  the 
neighboring  house  is  then  heard  practicing  the 
vocal  scale. 

BOB.     Is  it  most  froze? 

JORDAN.  If  it  ain't,  somebody  else  has  got  to 
tackle  it.  I  don't  see  why  I  should  do  all  the  work 
in  the  house. 

BOB.     What'll  you  give  me  to  turn 

JORDAN.     Ssh.     Here's  Mrs.  Jordan. 

(Enter  MRS.  JORDAN  from  house.  She  is  a  tall, 
spare  woman  of  forty- five.  Upon  her  ap 
pearance  the  vocal  scale  is  stopped.  She  re 
mains  on  the  porch.) 

MRS.  JORDAN.  (Taking  a  comprehensive  view  of 
the  situation)  They've  got  to  their  salad,  Henry. 
You'd  better  hurry.  (She  exits) 

JORDAN.  How  can  I  hurry  the  stuff?  I'm  not  a 
steam  engine. 

BOB.    Give  me  a  plate  if  I  turn  the  crank  a  while  ? 


THE  LITTLE  GRAY  LADY  15 

JORDAN.  (Testily)  No!  (Mutters)  Work! 
Work!  Work!  Nothing  but  work  from  morning 
'til  night ! 

BOB.  Aw,  stingy!  (Pulls  a  much-mussed 
envelope,  brilliant  red  in  color,  from  his  hat.  A 
battered  boiler-cover  is  thrown  over  the  fence  R. 
into  the  "yard")  Look  what  the  drug-store  feller 
give  me. 

JORDAN.  (Glancing  indifferently  at  the  boiler 
cover)  What?  (Looks  at  BOB)  That  red 
envelope  ? 

BOB.    Yep. 

JORDAN.    What's  it  good  for? 

BOB.  Oh,  I  don't  know !  I'll  write  a  letter  some 
day — maybe. 

JORDAN.  (Takes  the  top  off  the  freezer  and  ex 
amines  the  contents.  Disgustedly  replaces  it)  Come 
on,  Bob.  (Abandons  freezer)  I'll  see  that  you  get 
a  dish  of  ice  cream. 

BOB.  (Returns  the  envelope  to  his  hat  and  jumps 
down  with  alacrity)  Cross  your  heart? 

JORDAN.  Cross  my  heart.  (BOB  goes  to  freezer 
and  turns  the  crank  wildly.  JORDAN  sits  in  hammock, 
mops  his  face,  and  takes  from  pocket  a  cigar  which 
he  licks  lovingly)  By  jingo,  it's  hot!  (Lights 
cigar)  Keep  that  up  and  it  won't  be  long. 

BOB.    I  can't  keep  it  up  long. 

JORDAN.  What!  A  big,  strong  boy  like  you! 
(The  door  within  is  opened  and  closed.  JORDAN 
starts  up,  but  is  at  ease  again  upon  seeing  who  is 
coming.  Enter  MRS.  GRAHAM,  a  pretty  woman  of 
twenty-five,  neatly  dressed)  Oh,  I  thought  you 
were  my  wife ! 

MRS.  GRAHAM.  (Coming  down  steps)  You 
didn't  look  overly  well  pleased. 

JORDAN.  Huh.  You  didn't  wait  for  dessert. 
Wasn't  Mr.  Carlyle  attentive  enough? 

MRS.    GRAHAM.       (Annoyed)      Captain!      (To 


1 6  THE  LITTLE  GRAY  LADY 

BOB)  You  may  have  my  share — all  the  ice  cream 
you  want. 

BOB.    There  ain't  that  much. 

JORDAN.  This  house  is  getting  to  be  a  regular 
matrimonial  agency.  Virginia's  bound  she'll  make 
a  match  between  Ruth  and  Mr.  Graham.  They'd  be 
a  nice  couple,  don't  you  think,  Miss  Carruth? 

MRS.  GRAHAM.  (Blunting  the  edge  of  her  re 
mark  with  a  laugh)  I  don't  think  about  what 
doesn't  concern  me.  If  you  didn't  you  might  have 
more  time  for  what  does. 

JORDAN.  Meaning  work,  huh?  (Gets  out  of 
hammock  and  stretches  himself)  Wait  'til  I  get 
enough  capital  to  open  up  the  Black  Diamond — 
(Noise  from  house  again.  He  hastily  pretends  to 
examine  the  freezer.  Enter  MRS.  JORDAN  with  a 
tray  of  empty  dishes.  She  comes  down  from 
porch)  Why,  it's  done! 

MRS.  JORDAN.  It  ought  to  be!  (She  puts  down 
the  tray  and  throws  the  boiler  cover  over  fence  R. 
Addresses  MRS.  GRAHAM,  who  is  sitting  in  the 
hammock)  I  wish  you  hadn't  left  the  table,  Miss 
Carruth.  It's  awful  the  way  Mr.  Carlyle  forces  his 
attentions  on  Ruth.  (Fills  the  dishes  with  ice 
cream  ) 

MRS.  GRAHAM.  I  don't  see  what  I  have  to  do 
with  it.  Mr.  Carlyle  is  Miss  Gray's  guest. 

MRS.  JORDAN.  He  don't  consider  himself  so. 
He's  come  here  so  much  he  feels  like  one  of  the 
family.  And  the  way  he  talks  to  Ruth!  (Goes  up 
steps)  The  poor  child  is  dreadful  embarrassed. 
(To  BOB)  Bob  Ebbets,  take  your  fingers  out  of 
that  ice  cream,!  (Exits) 

BOB.  (Calling  after  her)  I'm  going  to  have  a 
plate.  (Rises,  with  -freezer  lid  full  of  ice  cream) 
Guess  Fd  better  have  it  some  place  else!  (Exits 
over  fence  L.) 

MRS.  GRAHAM.     (Starts  as  the  boiler  cover,  sail- 


THE  LITTLE  GRAY  LADY  17 

ing  over  the  fence  R.,  falls  to  the  stage  with  a  crash) 
He's  a  great  boy.  (Seats  herself  on  the  step) 

JORDAN.  Carlyle  thinks  so.  He's  always  buying 
things  for  him.  I  don't  know  how  he  affords  it. 
He's  got  his  mother  somewhere  out  in  Ohio,  and 
his  salary  can't  be  over  twelve  hundred. 

MRS.  GRAHAM.     He's  in  the  Treasury,  isn't  he? 

JORDAN.  Yes.  He  and  Miss  Gray  are  in  the 
same  room  with  Ruth. 

(Enter  MRS.  JORDAN  with  tray  unobserved.    Stands 
on  porch  behind  MRS.  GRAHAM.) 

MRS.  GRAHAM.  It's  an  idle,  aimless  life,  and  I 
think  it's  having  a  bad  effect  on  Mr.  Carlyle.  Miss 
Gray  frets  a  good  deal  about  him. 

MRS.  JORDAN.     Miss  Gray! 

MRS.  GRAHAM.  Yes.  (Shifting  her  position  on 
step)  Can  you  pass? 

MRS.  JORDAN.  Thanks.  (Conies  down,  puts  tra\ 
on  porch,  and  throws  boiler  cover  back  over  fence 
R.) 

JORDAN.  Why,  I  thought  Miss  Gray  was  stuck  on 
that  fellow,  Meade. 

MRS.  GRAHAM.  (With  deep  disgust)  You  men! 
Mr.  Carlyle  ought  to  marry  Anna  Gray — for  his 
own  sake  as  well  as  for  hers.  He  needs  a  girl  like 
her  to  keep  him  straight. 

MRS.  JORDAN.  Girl !  Well,  if  she's  a  girl,  Henry 
is! 

MRS.  GRAHAM.  That's  just  it.  A  girl  can  push 
a  man  down  hill  pretty  fast,  but  it  takes  a  woman 
to  help  him  up. 

MRS.  JORDAN.  I  don't  want  Ruth  helpin'  any  man 
up  hill.  If  you  want  to  save  him  why  don't  you 
marry  him  yourself?  (Picking  up  tray  and  ap 
parently  finding  it  heavy)  Here,  Henry ;  carry  this. 

JORDAN.     (Takes  tray,  mutters)     More  work. 


i8  THE  LITTLE  GRAY  LADY 

MRS.  JORDAN.  (Contemptuously)  When  you 
get  your  Self-Threading  Needle  patented  or  your 
Black  Diamond  Mines  opened,  or — • — 

(Enter  RICHARD  GRAHAM,  a  clean,  alert  young  man 
of  thirty-two,  dressed  in  flannels.  He  stands 
hesitantly  on  the  porch.) 

MRS.  GRAHAM.  (Rises.  Addresses  GRAHAM) 
Come  on  out.  You're  just  in  time  to  prevent  my 
being  married  to  Mr.  Carlyle. 

GRAHAM.  (Comes  down  steps)  Who's  going  to 
marry  you  to  Carlyle? 

MRS.  JORDAN.  Miss  Carruth  said  she  thought 
somebody  ought  to  reform  him. 

GRAHAM.     Rubbish!     Carlyle's  all  right! 

MRS.  JORDAN.  I've  said  it  once  and  I  say  it  again  ! 
I  ain't  a-goin'  to  have  him  marryin'  Ruth,  if  I  know 
it.  (Enter  CARLYLE.  He  is  a  good-looking  fellow, 
twenty-six  years  of  age,  conventionally  dressed,  and 
carrying  a  napkin  as  an  indication  that  he  has  not 
finished  dinner.  MRS.  JORDAN,  fearful  that  he  may 
have  overheard,  looks  at  him  swiftly  and  covers  her 
confusion  by  scolding  her  husband)  Henry,  come 
along !  Nobody  wants  ice  cream  for  breakfast ! 
(Exit  MRS.  JORDAN  in  house.  JORDAN  picks  up  tray 
and  follows  her.  Boiler  cover  thrown  on  stage 
again) 

CARLYLE.  I'm  sent  after  you,  Miss  Carruth. 
You're  wanted  to  settle  a  bet  about  the  pension 
office. 

MRS.  GRAHAM.  (Goes  up  steps  as  CARLYLE  comes 
down)  What  a  nuisance.  (To  GRAHAM)  Don't 
go  away.  I'll  be  back  in  a  moment.  (Exit  in 
house.  CARLYLE  starts  to  follow  her) 

GRAHAM.     Carlyle. 

CARLYLE.     (Stops  and  turns  around)      Yes? 

GRAHAM.    Got  a  second? 


THE  LITTLE  GRAY  LADY  19 

CARLYLE.     Surely.     (Comes  down)     What's  up? 

GRAHAM.  We're  pretty  good  friends,  Carlyle. 
Do  you  like  me  well  enough  to  let  me  mix  in  your 
personal  affairs? 

CARLYLE.    Drive  on. 

GRAHAM.  When  you  turned  up  a  minute  ago, 
Mrs.  Jordan  was  expressing  the  fear  that  you  might 
marry  Ruth.  (CARLYLE  starts  with  'surprise) 
Now — I — it's  none  of  my  business — but — I 

CARLYLE.  I'm  not  going  to  marry  Ruth,  if  that's 
what  you're  after.  I've  never  thought  of  such  a 
thing. 

GRAHAM.  Excuse  me  for  mentioning  it.  I  acted 
on  impulse,  and  you  have  been  chumming  with  the 
girl  a  good  deal  lately. 

CARLYLE.  Chumming's  the  word.  I  like  Miss 
Jordan.  I  think  she's  a  mighty  nice  little  woman. 

GRAHAM.  So  do  I.  But  all  nice  little  women 
aren't  helpful  wives. 

CARLYLE.  I  know  what  you  mean — and  who  you 
mean.  Anna  Gray  comes  first  with  me  if — if— — 

(Enter  MRS.  GRAHAM.) 

GRAHAM.    If  what? 

CARLYLE.  If  she  wants  to.  If  she  doesn't  prefer 
Sam  Meade. 

MRS.  GRAHAM.  (Coming  down)  So  you've  been 
hearing  that  nonsense.  (Crosses  to  R.)  Well,  if 
this  isn't  the  gossipiest  old  town. 

CARLYLE.  (Musingly)  It  is  that!  (Waking 
from  his  reverie)  By  George!  My  ice  cream  will 
be  melting!  See  you  later!  (Runs  up  steps) 

GRAHAM.     You're  not  angry  with  me,  old  man? 

CARLYLE.  Angry?  With  you?  Don't  talk 
foolishness.  (Exits) 

MRS.  GRAHAM.  (Indicathw  CARLYLE)  He's  a 
nice  fellow.  Only  I  wish  Mrs.  Jordan  wouldn't 
keep  thrusting  him  at  me. 


20  THE  LITTLE  GRAY  LADY 

GRAHAM.  That  woman  is  the  most  confirmed 
matchmaker  I  have  ever  met. 

MRS.  GRAHAM.  Horrid  old  thing!  She  just 
wants  me  to  fall  in  love  with  Mr.  Carlyle  so  that 
you  can  marry  that  silly  daughter  of  hers. 

GRAHAM.    Ruth's  a  very  clever  girl. 

MRS.  GRAHAM.  She's  pretty  enough  to  make  you 
think  so.  (Starts  angrily  R.  c.)  Good  heavens,  you 
men  are  so  stupid.  The  foolishest  doll  face  in  the 
world  can  twist  you  around  her  little  finger. 

GRAHAM.  (Following)  Why,  you  dear  old 
goose!  (Catches  her  and  embraces  her}  You 
know  I  don't  care  a  hang  for  anyone  in  the  world 
but  you.  (A  light  is  turned  up  behind  a  "second- 
story  window) 

MRS.  GRAHAM.  (Looking  over  GRAHAM'S  arms 
at  the  illumination)  I  suppose  she's  up  there 
now — at  her  dresser — sharpening  her  claws  like  a 
cat! 

GRAHAM.     Now,  you  mustn't  be  spiteful ! 

MRS.  GRAHAM.  I  don't  care,  Dick !  I  don't  see 
the  use  of  being  married  if  we're  the  only  people 
who  know  it. 

GRAHAM.  You  can't  keep  your  position,  Kiddie, 
if  you  can't  keep  our  secret. 

MRS.  GRAHAM.  Such  nonsense  that  a  woman 
can't  work  in  the  departments  after  she  gets  a  hus 
band.  If  you  want  to  know  wrhat  I  think,  I  think' 
it's  downright  selfish  of  the  government! 

GRAHAM.  Never  mind,  old  girl !  As  soon  as 
we've  saved  a  thousand  dollars  more  we'll  pull  up 
stakes,  settle  in  Venezuela,  and  grow  coffee. 

MRS.  GRAHAM.  On  our  own  plantation — just  you 
and  I? 

GRAHAM.  (Taking  her  hand)  Just  you  and  I— 
and  the  coffee. 

MRS.  GRAHAM.     You  darling!     (Both  hugging) 

GRAHAM.    Do  you  love  me? 


THE  LITTLE  GRAY  LADY  21 

MRS.  GRAHAM.     With  all  my  heart. 

GRAHAM.  My  kiddie!  (They  are  about  to  kiss. 
At  this  critical  moment,  enter  BOB,  scrambling  to  the 
top  of  the  fence) 

BOB.    Hi!    Break  away! 

GRAHAM.  (Both  jump  out  of  hammock.  He 
crosses  to  R.,  indignantly)  Confound  that  boy! 

MRS.  GRAHAM.  Bobbie,  you're  so — so  unsym 
pathetic.  Were  you  never  in  love  ? 

BOB.     Me  ?     Nit !     Dames  is  too  much  trouble  ! 

(Enter  JORDAN  from  house,  fingering  a  coin  and 
muttering.) 

JORDAN.  Doggone  Carlyle !  Why  did  he  have 
to  ask  for  cake?  (Going  toward  passage  up  L.) 

GRAHAM.  (Crossing  to  MRS.  GRAHAM  to  L., 
addressing  JORDAN)  What's  wrong?  More  work? 

JORDAN.  (Stops)  Yes.  Got  to  go  'round  the 
corner  for  cake.  Won't  you  come,  too,  Miss  Car- 
ruth? 

MRS.  GRAHAM.  Weil,  I  hardly  think  so.  (Enter 
MRS.  JORDAN  and  RUTH  JORDAN,  a  typically  fluffy, 
alluring,  consciously-attractive,  golden-haired  young 
woman  of  twenty-four.  She  pauses  in  the  "door 
way  and  lifts  her  arm  in  order  that  her  mother 
may  place  a  needed  pin  in  her  dress  under  it. 
GRAHAM  turns  toward  them,  and,  as  she  observes 
this,  MRS.  GRAHAM'S  manner  changes.  Going  tow 
ard  fence  L.)  Bob!  (Bos  fearful  that  he  mav  be 
asked  to  go  to  the  shop,  starts  to  tower  himself  on 
the  oilier  side  of  the  fence)  • 

BOB.    Yes 'in ! 

MRS.  GRAHAM.    Got  a  pencil? 

BOB.  Yes'm.  (Removes  his  hat  and  obtains  one 
from  the  band — handing  it  to  her.  While  the  group 
by  the  porch  is  conversing,  she  takes  a  piece  of  paper 
from  the  Jiat  and  writes  on  it) 


22  THE  LITTLE  GRAY  LADY 

GRAHAM.    Through  dinner,  Miss  Jordan? 

RUTH.  (Her  manner  distinctly  suggesting 
coquetry)  Oh,  Mr.  Graham!  I  didn't  see  you! 
(Coming  down  toward  hammock) 

GRAHAM.  I  don't  know  how  people  can  linger 
over  dinner  in  hot  weather.  It's  so  delightful  out 
here. 

RUTH.  It  promises  to  be — now.  (Sits  in  ham 
mock) 

MRS.  GRAHAM.  Here,  Bobbie.  (Hands  him 
note)  Give  that  to  Mr.  Graham.  I'm  ready,  Cap 
tain. 

(Exeunt  JORDAN  and  MRS.  GRAHAM.  BOB  reads 
the  note,  takes  the  red  envelope  from  his  pocket, 
triumphantly  seals  the  letter  in  it.) 

MRS.  JORDAN.  (Throws  boiler  cover  over  fence 
R.)  When  I  was  a  girl  we  used  to  eat  dinner  in 
summer  on  the  lawn  in  front  of  the  family  mansion. 
(Fanning  herself  on  house  steps.  BOB  crosses  be 
hind  her  quietly  and  comes  down  R.  of  GRAHAM) 

RUTH.  Mr.  Carlyle  and  I  dined  at  Cabin  John's 
Bridge  last  Sunday.  Mr.  Carlyle  insisted  on  our 
having  champagne.  Wasn't  it  foolish  of  him? 

GRAHAM.  (Dryly)  Considering  his  responsi 
bilities — extremely. 

BOB.  (Goes  to  R.  of  GRAHAM,  carrying  the  red 
envelope  conspicuously  and  addresses  him  in  a  stage 
whisper)  Psch  !  Mr.  Graham  ! 

MRS.  JORDAN.  Ruth  is  so  extravagant.  It's  the 
blood  of  the  Peytons.  My  grandfather — (Stops 
speaking — eyeing  BOB) 

BOB.  Psch!  Mr.  Graham!  (Tugs  at  GRAHAM'S 
coat) 

(GRAHAM  looks  at  him.    He  gesticulates  frantically 

with  his  thumb.) 
GRAHAM.     (To  RUTH)     Excuse  me.    I  infer  that 


THE  LITTLE  GRAY  LADY  23 

this   gentleman  wants  to   speak   with  me.      (Rises 
and  joins  BOB) 

RUTH.     Certainly. 

BOB.  (Giving  him  red  envelope}  From  Miss 
Carruth.  (Winks  gravely}  Tumble? 

GRAHAM.  (Winking  ivith  equal  gravity}  You 
bet!  (Takes  note  from  envelope,  glances  at  it, 
kisses  it,  shoves  it  back  into  envelope  and  the 
envelope  into  his  pocket}  I'm  the  greatest  little 
tumbler  you  ever  saw  (Exit  hastily  L.  BOB  starts 
to  go  to  fence  L.) 

MRS.  JORDAN.  (Severely)  Bobbie!  (BOB  stops) 
Where  did  you  get  that  envelope? 

BOB.  From  the  drug-store.  (Running  to  and 
swinging  up  on  the  fence.  Impudently)  They 
don't  keep  'em  at  the  butcher's  any  more.  (Laughs, 
and  swinging  over  the  fence,  exits) 

MRS.  JORDAN.  The  brat!!  (RUTH  laughs)  You 
needn't  laugh.  If  you  hadn't  disgusted  Mr.  Graham 
with  your  talk  of  champagne  he  wouldn't  have  gone. 
(Rises) 

RUTH.  (Rises,  crosses  to  L.)  Don't  be  silly. 
The  note  was  from  a  woman. 

MRS.  JORDAN.  All  the  more  reason  why  you 
should  have  kept  him.  If  you're  not  careful  that 
Carruth  girl  will  get  him  right  under  your  nose. 

RUTH.     She's  welcome  to  him.     (L.  c.) 

MRS.  JORDAN.  Welcome  to  him!  And  him  just 
left  about  half  of  South  America!  (Rises.  Her 
indignation  can  go  no  farther.  She  grips  the  ice 
cream  freezer  fiercely)  Ruth  Jordan,  help  me  carry 
this  freezer  in  the  house! 

RUTH.    And  get  my  dress  all  rust?    Not  much. 

MRS.  JORDAN.  (Unable  to  lift  the  tub,  sits  on  it) 
I'll  tell  you,  my  lady,  you'll  need  a  rich  man  to  pay 
your  bills !  Perry  Carlyle  can't  do  it ! 

RUTH.  (Coolly)  That's  too  bad.  I'm  thinking 
of  marrying  him. 


24  THE  LITTLE  GRAY  LADY 

MRS.  JORDAN.  (Starting  up)  Marry — Perry 
Carlyle !  When  did  he  ask  you  ? 

RUTH.    He  hasn't. 

MRS.  JORDAN.     Then  you  can't  know! 

RUTH.  (Strolling  to  R.)  Oh,  yes,  I  can!  Only 
he  doesn't — yet ! 

MRS.  JORDAN.  Well,  you  won't  marry  him  so 
long's  I  can  help  it.  (Tugging  at  freezer)  Will 
you  give  me  a  hand  with  this  freezer? 

RUTH.  No,  I  will  not,  so  you  might  as  well  wait 
until  papa  comes  back. 

^  MRS.  JORDAN.    If  you  marry  Carlyle,  what  is  Miss 
Gray  going  to  do  ? 

(Enter  ANNA  GRAY  from  house.  She  is  a  woman 
of  twenty-eight,  but  looking  older;  plainly 
dressed,  her  hair  parted  plainly,  altogether  a 
plain  person.) 

ANNA.  (Crossing  to  hammock — sits)  Miss 
Gray  is  going  to  climb  into  the  hammock  and  keep 
cool. 

MRS.  JORDAN.  Well,  I  hope  you  can — that's  all ! 
I  can't !  ( With  the  strength  of  anger,  she  lifts  the 
•freezer,  and  with  it  is  about  to  exit  into  house. 
Boiler  cover  is  throzvn  onto  stage.  She  stops — puts 
down  -freezer — picks  up  cover — throws  it  over 
fence  L.  and  exits) 

ANNA.  Your  mother  doesn't  seem  to  be  in  a 
very  good  humor.  Anything  wrong? 

RUTH.  She  wanted  me  to  help  her  carry  that 
freezer. 

ANNA.    How  did  she  come  to  mention  my  name  ? 

RUTH.    As  a  good  example  to  me,  as  usual. 

ANNA.  I'm  afraid  I  should  be  a  very  poor  ex 
ample  for  you,  Ruth. 

RUTH.    I'm  sure  I  don't  see  why. 

ANNA.    Oh,  you're  such  a  different  kind  of  a  girl. 


THE  LITTLE  GRAY  LADY  25 

(RuTH  rocks  her  gently.) 

RUTH.    What  do  you  mean  by  "  different  kind?  " 

ANNA.  Why,  when  you  come  down  to  it,  there 
are  only  two  kinds  of  women.  Those  to  whom  men 
make  love — and  the  others. 

RUTH.    And  you? 

ANNA.     I'm  afraid  I'm  one  of  the  others. 

RUTH.    You  believe  in  love,  don't  you? 

ANNA.  Yes.  Queer,  isn't  it?  But  I  do.  I  be 
lieve  that  love,  especially  the  love  of  women,  is  a 
wonderful  influence. 

RUTH.    That  is,  the  love  of  women  who  love. 

ANNA.  The  love  of  women  who  love,  kills  them ; 
the  love  of  women  who  don't,  kills  others.  They 
are  equally  an  influence. 

RUTH.  (Forces  herself  in  hammock  beside 
ANNA — shaking  off  her  sobriety,  and,  laughingly 
Well,  I  suppose  I'm  fearfully  shallow  and  frivolous, 
but  I  think  that  love's  a  good  deal  of  a  sham.  You 
make  up  your  mind  that  you  want  a  man  and  you 
hook  him  in.  That's  all. 

ANNA.    Unfortunately,  that  isn't  all. 

RUTH.  Not  quite,  perhaps.  You've  got  to  have 
some  bait  on  your  hook. 

ANNA.     That  doesn't  sound  complimentary. 

RUTH.  Yes,  it  is.  (Jumps  out  of  the  hammock) 
You  have  plenty  of  bait,  but  you  won't  use  it.  Now 
what  in  the  world's  the  sense  of  having  curly  hair 
if  you're  going  to  brush  it  straight,  as  you  do? 

ANNA.  (Putting  her  hands  to  her  hair)  It 
seems  quieter. 

RUTH.  Good  gracious!  You  don't  want  to  be 
quiet ! 

ANNA.  (Smiling)  I'm  told  that  you  do — when 
fishing. 

RUTH.    Oh,  I  forgot  about  that  long  ago.    That's 


26  THE  LITTLE  GRAY  LADY 

another  thing  you  ought  to  remember.  Don't  be 
too  wise. 

ANNA.     Why  not? 

RUTH.  You  can't  expect  a  man  to  like  a  woman 
who  knows  more  than  he  does.  Didn't  I  hear  you 
talking  to  Mr.  Meade  last  night  about  George 
Eliot? 

ANNA.    Perhaps  you  did. 

RUTH.  Well!  And  I'll  bet  anything  that  Mr. 
Meade  doesn't  know  whether  George  Eliot  was  a 
woman  or  a  play  by  Clyde  Fitch. 

ANNA.    Then  it's  time  he  learned. 

RUTH.  Very  true,  but  don't  make  him  learn  from 
you.  For  every  little  boy  who  loves  his  teacher, 
there  are  fifty  who  don't.  Men  are  little  boys  grown 
up. 

ANNA.     Anything  more? 

RUTH.  Lots.  (Surveying  her)  Your  shoes, 
your  dress,  everything.  You  look  ten  years  older 
than  you  ought  to  look. 

ANNA.  How  do  you  know  how  old  I  ought  to 
look? 

RUTH.  No  woman  ought  to  look  any  older  than 
she  has  to.  (Takes  a  towel  from  her)  What  are 
you  sewing?  (Inspects  it)  Of  all  things — a  towel. 
If  you  must  sew  in  public,  why  not  tidies? 

ANNA.  I'm  short  of  towels  in  my  room.  (Taking 
back  the  towel)  Go  on. 

RUTH.  Let's  see.  (Reflecting.  Sits  on  bench) 
You  don't  flatter  enough.  Make  every  man  be 
lieve  you  consider  him  the  climax  of  creation, 
but  don't  let  him  feel  that  there  aren't  a  dozen 
others  ready  to  take  his  place  the  moment  he  steps 
down  and  out. 

ANNA.  (Rising  from  hammock,  crossing  to  L.) 
Ruth,  you're  too  absurd.  You  don't  mean  half 
you  say. 


THE  LITTLE  GRAY  LADY  27 

(Enter  CARYLE  from  house.) 

CARLYLE.    Hello  !    Everybody  out  here  ? 

RUTH.  (In  an  alert  tone)  Yes.  Come  on  out. 
I'm  keeping  the  hammock  for  you. 

CARLYLE.  (Rather  coolly)  That's  awfully  good 
of  you.  I  guess  I'll  stand,  though. 

RUTH.    Doesn't  a  place  by  me  tempt  you? 

CARLYLE.  Frightfully!  And  the  one  thing  I 
can't  resist  is  temptation. 

ANNA.    I  know. 

CARLYLE.  (Not  unkindly)  Don't  preach,  Anna. 
(Enter  BOB,  appearing  as  usual  from  over  the  fence) 
Hello,  Bob.  How's  the  boat? 

BOB.  I  got  it  here.  (Revealing  a  boat  obviously 
fashioned  from  a  cigar  box)  You  was  going  to 
show  me  how  to  make  it  go. 

CARLYLE.  (Affectionately)  Was  I?  Let's  have 
it.  (Goes  to  L.  c.  BOB  climbs  down,  CARLYLE  tak 
ing  the  vessel  from  him) 

RUTH.  May  I  see  it?  I'm  so  interested  in  toys. 
(Joins  CARLYLE  and  BOB  L.  c.) 

CARLYLE.  I  used  to  turn  these  out  by  the  dozen 
when  I  was  a  youngster.  (Shows  the  toy  to  her — 
she  looks  it  over  superficially) 

ANNA.  Yes.  I  remember  you  made  one  for  me, 
and  I  fell  in  the  pond  trying  to  swim  it. 

BOB.  (With  deep  disgust)  Aw,  boats  can't 
swim! 

CARLYLE.  (To  RUTH)  You  stretch  a  rubber 
band  from  shaft  to  shaft,  twist  a  paddle  around  in 
it,  and  let  the  paddle  untwist  in  the  water.  (To 
BOB)  Where's  the  lid?  (Bos  gives  CARLYLE  the 
cover  of  the  box.  He  takes  out  a  knife  with  which 
to  cut  the  zvood  into  three  pieces) 

(Enter    MRS.    JORDAN    from    house,    followed    by 
SAMUEL  MEABE,  a  man  of  forty,  rather  coarse 


28  THE  LITTLE  GRAY  LADY 

in  appearance,  wearing  a  heavy  black  or  red 
moustache  and  a  moderately  loud  suit  of 
clothes.) 

MRS.  JORDAN.  Here's  Mr.  Meade,  Miss  Gray.  I 
told  him  he'd  better  come  right  back. 

ANNA.  (Extending  hand)  Of  course.  I'm  glad 
to  see  you. 

MEADE.  (Crossing  and  taking  her  hand)  And 
I'm  glad  to  see  you.  (Nodding  to  CARLYLE  and 
RUTH)  How'dy,  Carlyle?  Evening,  Miss  Jordan. 

(They  nod  in  reply  and  continue  business  with  boat, 
CARLYLE  getting  on  his  knees  in  order  to  work 
the  better.) 

MRS.  JORDAN.  I  knew  Mr.  Meade  wouldn't  mind 
this  bein'  the  back  yard.  When  I  was  a  girl  in 
Virginia  we  used  to  have  grape  arbors  at  the  back 
of  the  house,  and  my  grandfather 

MEADE.  (Paying  no  attention  to  her.  Addresses 
ANNA)  I  got  you  this  book.  You  recollect  you 
mentioned  it?  (Gives  her  book) 

(MRS.  JORDAN  angry  at  being  interrupted  exits  into 
house.) 

ANNA.  (Looking  at  the  cover)  Maxine  Elliott; 
An  Appreciation. 

^  MEADE.    I  couldn't  get  the  one  you  said — George 
Eliot.     I  thought  this  must  be  his  sister. 

ANNA.  I'm  greatly  obliged  to  you.  (Going  to 
hammock,  sits) 

SAM.  You  look  tired.  What's  up?  Heat  been 
too  much  for  you? 

ANNA.  No.  I  have  worked  harder  than  usual 
to-day. 

SAM.     I  should  think  it  would  make  you  tired; 


THE  LITTLE  GRAY  LADY  29 

just  counting  bills  all  the  time.  (Lowers  his  voice) 
Say  that  reminds  me,  I  got  a  case  in  your  division. 

ANNA.    What  is  it? 

SAM.     Thief. 

ANNA.    You  don't  say  so.    Was  it  much? 

SAM.  Only  twenty  dollars — that  we  know  of. 
Your  chief  noticed  a  lot  of  condemned  twenties 
torn  in  a  queer  way.  So  he  has  come  to  us. 

ANNA.  All  the  "bills  that  go  to  the  Redemption 
Agency  are  mutilated. 

SAM.  But  these  weren't  scorched  or  chewed  by 
rats,  or  anything  like  that.  Pieces  were  torn  out 
of  them — one  note  torn  at  the  end,  one  next  to  the 
end,  one  a  little  farther  down,  and  so  on. 

ANNA.  Why  is  that  suspicious?  I'm  not  in  the 
Secret  Service. 

SAM.  I  couldn't  see  anything  queer  about  it 
either,  at  first.  It's  a  brand  new  trick  and  pretty 
hard  to  get  onto. 

CARLYLE.  (Rising — the  boat  still  in  his  hands) 
What's  that? 

MEADE.  (Changes  his  tone  to  one  of  carelessness) 
Oh,  just  another  way  of  making  money  without 
earning  it. 

RUTH.  (Going  to  MEADE)  Do  you  mean  really 
making  money? 

MEADE.  Yes.  (Illustrating  with  a  scrap  of 
paper)  One  of  the  fellows  counting  bills  tears 
little  pieces  off  them  like  this,  see? 

RUTH  and  ANNA.    Yes. 

MEADE.  He  gets  a  bit  from  every  part  of  the 
note.  Then  he  goes  home,  pastes  the  bits  together, 
and  makes  an  extra  bill ! 

CARLYLE.  I  should  think  it  would  take  a  very 
clever  man. 

MEADE.  Naw  !  You've  seen  them  puzzle  pictures 
that  children  put  together?  This  is  the  same  thing. 
Any  kid  could  do  it. 


30  THE  LITTLE  GRAY  LADY 

BOB.     (To  CARLYLE)     Come  on!    Let's  finish  the 

boat. 

CARLYLE.  (Handing  him  the  vessel)  After  a 
while.  I'm  talking  now.  Bring  it  around  to 
morrow. 

BOB.     (Demurring')     Oh!     Come  on! 

CARLYLE.  Go  on  now!  (Exit  BOB,  much  hurt, 
over  the  -fence.  CARLYLE  addresses  MEADE)  What's 
done  with  a  bill  when  it's  made? 

MEADE.  The  fellow  spends  it — just  like  any 
other  bill. 

RUTH.     The  tears  must  show. 

MEADE.  If  people  didn't  take  torn  money  there 
wouldn't  be  any  Redemption  Agency. 

ANNA.  What  about  the  numbers?  (Takes  bill 
from  her  purse )  Each  note  is  numbered  in  two 
places.  How  does  the  thief  get  two  numbers  alike. 

MEADE.  He  don't  have  to.  One  number  can  be 
in  the  gone  part  of  his  bill.  So  long's  he  has  three- 
fifths  of  the  note  he's  O.  K. 

RUTH.  If  it's  so  easy,  I  should  think  it  would  be 
done  right  along.  (Goes  up  to  steps,  sits) 

MEADE.  People  don't  know  about  it.  A  fellow 
needn't  be  clever  to  do  a  trick  like  that,  but  he's 
got  to  be  mighty  clever  to  invent  one. 

CARLYLE.  Do  you  think  this  fellow  will  be 
caught  ? 

MEADE.    The  Lord  knows  ! 

RUTH.  Mr.  Meade !  Who  was  talking  to  you 
about  our  division? 

MEADE.    Oh,  a  lady  friend. 

(Enter  JORDAN  at  L.,  carrying  a  sack.  He  is 
evidently  surprised  at  seeing  CARLYLE  opposite 
him.) 

^  JORDAN.    Hello  !    You  didn't  wait  for  your  cakes, 
did  you? 


THE  LITTLE  GRAY  LADY  31 

CARLYLE.     Only  about  twenty  minutes. 

JORDAN.  I've  been  waiting  for  Miss  Carruth. 
She  left  me  in  the  store  and  didn't  come  back. 
(Sees  MEADE)  Hello,  Sam! 

MEADE.  (Shaking  hands)  Evening,  Cap !  Done 
anything  about  that  self-threading  needle  of  yours? 

JORDAN.  No,  I've  got  a  coal  mine  I'm  going  to 
open  up.  There's  a  million  dollars  in  it  for  every 
one  there  was  in  the  needle. 

MEADE.  You'd  better  keep  the  needle  and  practice 
getting  a  camel  though  the  eye  of  it. 

(General  laughter.) 

RUTH.  Papa's  been  making  fortunes  ever  since 
I  can  remember. 

JORDAN.  I'll  strike  it  some  day.  (Goes  up  steps) 
Hadn't  you  all  better  come  in?  It's  getting  dark. 

ANNA.     (Rising)     Yes  ;  let's  go  in. 

(RUTH  rises.) 

JORDAN.  Come  on,  Sam.  I  want  to  get  you  in 
terested  in  that  mine.  (Exit  JORDAN  in  house) 

MEADE.  (Addressing  RUTH  who  is  standing  R. 
of  steps)  You  first. 

RUTH.     You're  coming,  aren't  you,  Mr.  Carlyle? 

CARLYLE.    Yes.    Right  away. 

RUTH.  (Making  way  for  MEADE)  Apriz  vous. 
Come  along ;  she'll  be  in  in  a  minute.  (Exeunt  RUTH 
and  MEADE  in  house) 

ANNA.  (Rises,  starts  to  go,  sees  CARLYLE  sitting 
lost  in  thought)  A  penny  for  your  thoughts. 

CARLYLE.  (Lightly)  They're  not  worth  a  penny. 
(More  seriously)  I  was  thinking  of  that  poor  fel 
low  in  the  Treasury.  If  he's  caught  he  will  go  to 
the  penitentiary.  I  don't  think  that  a  man  who  takes 
what  isn't  his,  intending  to  return  it  later,  is  always 
a  thief,  do  you? 


32  THE  LITTLE  GRAY  LADY 

ANNA.    A  great  many  thieves  begin  that  way. 

CARLYLE.  It  must  be  pretty  tough  for  a  young 
fellow  to  be  shut  up  in  prison. 

ANNA.  A  young  fellow  should  think  of  that  and 
resist  the  impulse  to  steal. 

CARLYLE.  Somehow  stealing  from  the  govern 
ment  doesn't  seem  exactly  like  other  stealing. 
Can't  you  imagine  yourself 

ANNA.  Yielding'to  that  kind  of  temptation.  No. 
(Suspicion  growing  into  horror.  She  looks  into  his 
face)  Perry !  Perry !  You  don't  mean  that  you — ? 

CARLYLE.  (Convincingly)  That  I  made  the 
twenty  dollar  bill  ?  Great  God,  no ! 

ANNA.  Forgive  me  for  asking  that  question,  but 
you  know  you  have  been  a  little  wild  lately. 

CARLYLE.  Yes,  I  know.  You  were  quite  justified. 
I  wonder  about  myself  sometimes.  I — I — seem  to 
have  been  going  to  the  devil  ever  since  I  left  Canton. 

ANNA.    Then  stop  it. 

CARLYLE.    I'm  going  to. 

ANNA.  Find  something  to  do — something  that 
will  keep  you  working  and  thinking  every  minute 
you're  out  of  office.  If  you'd  had  something  im 
portant  to  do  yesterday  afternoon  you  wouldn't 
have — I  never  saw  you  that  way  before,  Perry. 

CARLYLE.  I  don't  think  you'll  ever  see  me  that 
way  again. 

ANNA.  (Trying  to  joke)  You  see,  Perry,  you've 
been  slipping  away  from  my  influence.  You  need 
me  to  look  after  you. 

CARLYLE.  (Seriously)  That's  no  joke,  Anna. 
I  don't  know  what  fool  things  I  might  do  if  I 
hadn't  you. 

ANNA.     (Happy  and  embarrassed)     Nonsense! 

CARLYLE.  No  other  fellow  ever  had  a  friend  like 
you.  You  deserve  to  be  the  happiest  woman  in  the 
world. 


THE  LITTLE  GRAY  LADY  33 

(Enter  MRS.  GRAHAM  from  alley,  hurriedly.) 

MRS.  GRAHAM.  Oh,  I  hope  I'm  not  interrupting. 
(ANNA  withdraws  her  hands)  Has  either  of  you 
seen  Mr.  Graham? 

ANNA.     Not  recently. 

MRS.  GRAHAM.  (Crossing  L.)  Now,  isn't  that 
too  provoking?  I  asked  him  to  meet  me  in  Iowa 
Circle  and  take  me  car  riding. 

(Enter  MRS.  JORDAN  with  book  from  house.) 

CARLYLE.  He  left  the  table  before  dinner  was 
over. 

MRS.  JORDAN.     He — who? 

ANNA.    Mr.  Graham.     (Exits  into  house) 

MRS.  JORDAN.  He  went  out  about  half  an  hour 
ago.  Somebody  brought  him  a  message — a  note  in 
a  red  envelope. 

MRS.  GRAHAM.  (Surprised  and  angry)  A  note 
in  a  red  envelope !  Are  you  sure  it  was  in  an 
envelope  ? 

MRS.  JORDAN.  Perfectly.  I  remember  saying  it 
must  be  from  a  woman !  He  kissed  it  and  hurried 
off. 

MRS.  GRAHAM.  He — he  kissed  a  note  in  a  red 
envelope ! 

CARLYLE.  (To  MRS.  JORDAN)  Oh,  come  now! 
You  can't  be  certain  it  was  from  a  woman ! 

MRS.  JORDAN.  I'm  certain  he  wouldn't  have 
kissed  a  note  from  a  man ! 

MRS.  GRAHAM.  (CARLYLE  laughs)  And  all  the 
time  I  was  walking  around  that  circle  waiting  for 
him. 

MRS.  JORDAN.  I  don't  see  why  it  was  necessary  to 
meet  Mr.  Graham  elsewhere. 

MRS.  GRAHAM.  (On  verge  of  tears)  It  doesn't 
matter  to  me  what  you  see,  Mrs.  Jordan.  I've  never 
been  treated  so  in  my  life. 


34  THE  LITTLE  GRAY  LADY 

CARLYLE.  (Soothingly  to  MRS.  GRAHAM)  There.! 
There !  You'd  better  go  in  the  house.  Come  along. 
(Pitts  his  arm  about  MRS.  GRAHAM'S  shoulders  to 
lead  her  into  house.  Enter  GRAHAM  at  L.  passage} 

GRAHAM.  (Amazed  at  the  embrace.  With  quick 
temper)  Here,  Carlyle !  (CARLYLE  turns  to  him) 
What  are  you  doing? 

CARLYLE.    What  business  is  it  of  yours? 

MRS.  GRAHAM.  (Determined  to  pursue  her  ad 
vantage.  To  GRAHAM)  Yes.  You  don't  seem  to 
take  me  much  into  account.  (Addressing  CARLYLE, 
as  though  continuing  a  conversation)  It  is  a  beauti 
ful  pipe!  Yes,  it  is!  (Takes  pipe  from  his  hands) 

GRAHAM.  (Bewildered)  I  don't  see  what  the 
pipe's  got  to  do  with  it. 

CARLYLE.  (Smiling  to  GRAHAM)  Miss  Carruth 
was  a  little  hysterical.  And  I  asked  her  to  come 
in  the  house.  (Exits  in  house) 

MRS.  GRAHAM.  (Catching  her  breath  convul 
sively)  It  is  a  beautiful  pipe.  It's  a  beautiful  pipe. 

MRS.  JORDAN.    Well,  I  never!     (Exits  in  house) 

(MRS.  GRAHAM  stands  at  c.  GRAHAM  at  L.  There 
is  a  moment's  silence,  broken  by  the  tones  of  a 
flute,  playing  "  There'll  be  a  Hot  Time  in  the 
Old  Town  " .  Both  of  the  young  people,  how 
ever,  are  too  serious  for  laughter.  MRS. 
GRAHAM  turns  the  pipe  over  in  her  hands.  Its 
odor  reaches  her,  and  she  holds  it  off  in  dis 
gust.) 

GRAHAM.    Well? 

MRS.  GRAHAM.  Well!  I've  been  walking  around 
Iowa  Circle  half  an  hour. 

GRAHAM.  Half  an  hour!  /  sprinted  around  it 
until  I  felt  like  Maud  S.  doing  a  fast  mile ! 

MRS.  GRAHAM.  (Advances  to  him)  Don't  tell 
stories,  Dick  Graham!  I  never  saw  you  once! 


THE  LITTLE  GRAY  LADY  35 

GRAHAM.  You're  no  worse  off  than  I  am!  I 
never  saw  you ! 

MRS.  GRAHAM.    But  /  was  at  the  appointed  place. 

GRAHAM.     I  was  all  over  the  appointed  place. 

MRS.  GRAHAM.  You  were  not!  You  got  a  note 
in  a  red  envelope,  and  you  kissed  it,  and — and 

GRAHAM.  A  note  in  a  red  envelope!  (Fishes  it 
out  of  his  pocket)  Of  course  I  did!  Your  note! 

(Enter  BOB.     As  usual  he  remains  perched  on  the 
fence.) 

MRS.  GRAHAM.  I  didn't  put  my  note  in  an 
envelope  !  (Suspiciously)  Red  is  the  color  of  Ruth 
Jordan's  stationery! 

GRAHAM.  (Goes  to  her  at  c.)  Don't  be  foolish! 
(Takes  her  paper  from  envelope)  Isn't  that  your 
note? 

MRS.  GRAHAM.  Of  course  it  is.  When  did  you 
put  it  in  the  envelope  ? 

GRAHAM.    I  didn't! 

MRS.  GRAHAM.    You  did  ! 

GRAHAM.     I  didn't! 

MRS.  GRAHAM.    You  did  ! 

GRAHAM.     I  didn't! 

MRS.  GRAHAM.     You  did! 

GRAHAM.    I  didn't! 

BOB.     (Innocently)     No,  he  didn't.     I  put  it  in. 

MR.  and  MRS.  GRAHAM.    You! 

(Solo  ends  in  meaningless  screeches.) 

BOB.  Sure !  I  thought  your  note  looked  nicer  in 
an  envelope,  so  I  put  it  in  the  one  the  druggist  gave 
me. 

GRAHAM.    Bob!    You  imp ! 

MRS.  GRAHAM.  (To  GRAHAM)  And  you  kissed 
my  note!_  You  dear  boy!  (Throws  her  arms 
around  his  neck) 


36  THE  LITTLE  GRAY  LADY 

GRAHAM.  I  must  have  been  chasing  you  right 
around  that  damned  circle ! 

MRS.  GRAHAM.  It  isn't  too  late  for  our  car  ride 
yet,  is  it? 

GRAHAM.  I  should  say  not!  (They  go  to  the 
alley} 

MRS.  GRAHAM.  Here,  Bob!  Give  this  pipe  to 
Mr.  Carlyle!  (Goes  up  L.) 

GRAHAM.  Here,  Bob!  Here's  a  half-dollar  for 
you! 

(They  lock  arms  and  exeunt  L.  passage.) 

BOB.  Gee  whiz!  (Looks  after  them.  He  bites 
the  coin  to  satisfy  himself  of  its  genuineness  and 
then  puts  it  in  his  hat.  From  the  same  source  he 
extracts  a  match,  with  which  he  lights  the  pipe, 
puffing  at  it  with  apparent  lack  of  pleasure)  That's 
fine! 

(The  wild  footings  of  the  flute  melt  into:  "Because 
I  Love  You  " .  The  yard  is  lighted  by  the  moon 
and  by  rays  from  the  kitchen.  Enter  MEADE 
and  ANNA  from  house.  MEADE  does  not  see 
BOB.) 

MEADE.  Excuse  me  for  trotting  you  off  so  quick. 
I  wanted  to  talk  to  you. 

ANNA.  (Slightly  amused)  Weren't  you  talking 
to  me? 

MEADE.  I  wanted  to  talk  to  you  alone — where 
nobody  else  could  listen. 

ANNA.  (Nodding  at  BOB,  who  still  sits  on  the 
fence,  his  distaste  for  the  pipe  growing  more  evident 
every  instant)  You've  selected  a  bad  place  then. 
Bob  has  sharp  ears. 

MEADE.  (Turns)  Go  away,  Bob;  that's  a  good 
fellow. 


THE  LITTLE  GRAY  LADY  37 

BOB.  Can't.  Got  to  hand  this  pipe  to  Mr. 
Carlyle. 

MEADE.     (Goes  to  BOB)     I'll  give  it  to  him. 

BOB.    Won't  do. 

MEADE.  And  I'll  give  you  a  quarter.  (Takes 
silver  from  his  pocket) 

BOB.    Make  it  a  half? 

MEADE.     I've  only  got  a  quarter  in  change. 

BOB.    Have  you  got  a  dollar  ? 

MEADE.     Yes. 

BOB.  I  can  change  it.  (Takes  half  dollar  out  of 
hat) 

MEADE.  (Laughing,  gives  him  the  bill)  Here 
then. 

BOB.  Here's  your  half  and  here's  the  pipe. 
(Gives  him  both  articles)  Say,  you're  a  real  sport. 
(Exit  BOB  over  fence.  ANNA  and  MEADE  laugh) 

ANNA.    You  shouldn't  have  given  him  that  money. 

MEADE.  It  was  blackmail,  wasn't  it?  (Couies 
down  to  her,  folding  bills  to  return  to  his  pocket) 
Miss  Gray,  will  you  marry  me? 

ANNA.  (Under  the  impression  that  he  jests)  Is 
that  a  conundrum? 

MEADE.  I'm  not  kidding.  It's  a  plain  question 
and  I'd  like  a  plain  answer. 

ANNA.  (Realizing  Jiis  seriousness)  I  beg  your 
pardon.  You  shall  have  it.  No. 

MEADE.  I  didn't  think  you  would.  (Evidently 
staggered  a  bit,  notwithstanding  his  assertion,  he 
starts  to  return  to  the  house) 

ANNA.    Why  did  you  ask  me  then? 

MEADE.  (Stops  and  turns  toward  her)  Same  as 
any  other  fellow — because  I  love  you.  I  think 
you're  the  grandest  girl  I  ever  met.  Of  course, 
I'm  a  plain  kind  of  a  chap 

ANNA.    That  isn't  why  I  said  "  no  ". 

MEADE.  Is  isn't?  You  love  someone  else.  By 
Jingo  !  I  never  thought  of  that !  Who  is  he  ?  (Ad- 


38  THE  LITTLE  GRAY  LADY 

vances  toward  her)  Excuse  me!  I  haven't  any 
right  to  know!  (Goes  up  to  house — stops,  points 
towards  same,  conveying  idea  that  it  is  CARLYLE, 
turns  and  speaks)  He's  a  nice  fellow.  Good-night. 
ANNA.  (Follows  him)  Let  me  see  you  to  the 
door. 

(Enter  CARLYLE  and  RUTH  from  house.  They  are 
in  high  spirits,  and  lift  the  tone  of  the  scene  at 
once.) 

RUTH.  Hello !  Been  taking  advantage  of  the 
moon? 

MEADE.    Sort  of. 

RUTH.  If  you're  through  with  it  we'd  like  to  use 
it  a  while  ourselves.  (Goes  to  hammock  and  sits) 

(ANNA  is  surprised.  Regarding  PERRY,  she  realizes 
the  import  of  RUTH'S  words,  and,  suppressing 
her  emotions,  goes  up  the  steps.) 

^  MEADE.     (Giving  CARLYLE  his  pipe)     I  was  to 
give  you  this. 

CARLYLE.     Thank  you. 

ANNA.     (To  MEADE)     Come,  Mr.  Meade. 

(They  exeunt  in  house.) 

RUTH.  (In  hammock)  He's  just  proposed  to 
her. 

CARLYLE.     Do  you  think  so? 

RUTH.    Yes.    And  she  refused  him. 

CARLYLE.     How  can  you  tell? 

RUTH.  I  saw  her  face.  You're  keeping  that  girl 
from  happiness. 

o£ARLYLE'     KeePin£  Anna   ^om  happiness?     I? 
What  do  you  mean? 

RUTH.  Can't  you  see  that  she's  head  over  heels 
in  love  with  Mr.  Meade? 


THE  LITTLE  GRAY  LADY  39 

CARLYLE.  (Dazed  -for  a  moment.  Then,  with  a 
short  laugh,  dismisses  the  matter)  Why,  that's 
impossible!  Anna  and  I 

RUTH.  (Quickly)  She  told  me  herself  there  was 
no  engagement  between  you. 

CARLYLE.  No.  No  engagement.  Only  I  felt  that 
the  matter  was — well,  understood. 

RUTH.  You  felt  that  she  was  waiting  to  say 
"  yes  "  whenever  you  got  ready  to  ask  her.  You 
weren't  sure  you  wanted  her  yourself,  but  you 
were  willing  to  prevent  her  taking  the  man  she 
wants. 

CARLYLE.  I  wouldn't  do  that  for  the  world.  I'll 
tell  her  to-night.  I'll  tell  her  she  needn't  consider 
herself  bound  to  me. 

RUTH.  I  would.  (There  is  a  pause.  RUTH 
swings  herself.  When  she  speaks  it  is  in  a  lighter 
tone)  Don't  look  so  serious. 

CARLYLE.    I  feel  serious. 

RUTH.  If  it  were  me,  I'd  be  too  proud  to  worry 
about  a  girl  who  didn't  care  for  me. 

CARLYLE.  I'm  not  worrying.  I'm  glad  Anna  is 
going  to  be  happy.  (Goes  to  hammock)  It  never 
rains  but  what  it  pours.  I've  lost  about  everything 
else  in  this  town,  and  I  was  trying  to  win  it 
back  because  of  Anna.  Now  I've  lost  her,  too. 
What's  the  use  ? 

RUTH.  Maybe  the  use  is — somebody  who  cares 
for  you. 

CARLYLE.    Who  ? 

RUTH.  Somebody.  (Leans  against  him)  As  you 
just  said:  "What's  the  use?"  You  don't  give  a 
pin  for  her. 

CARLYLE.    Oh,  yes — yes — I  do. 

RUTH.  Just  now — perhaps — because  it's  night, 
and  my  dress  is  pretty  and  my  hair  soft  in  the 
moonlight. 


40  THE  LITTLE  GRAY  LADY 

(Very  softly  and  slowly,  the  strains  of:  "Believe 
Me  If  All  Those  Endearing  Young  Charms," 
played  on  the  flute,  drift  into  the  air.} 

CARLYLE.  There's  your  answer.  (Speaks  the 
lines  of  the  song) 

Believe  me  if  all  those  endearing  young  charms, 

Which  I  gaze  on  so  fondly  to-day, 

Were  to  change  by  to-morrow,  and  fleet  in  my  arms, 

Like  fairy  gifts  fading  away, 

Thou  wouldst  still  be  beloved,  as  this  moment  thou 

art, 

Let  thy  loveliness  fade  as  it  will, 
And  around  the  dear  ruin  each  wish  of  my  heart 
Would  entwine  itself  verdantly  still. 

(The  music  ceases.  RUTH  reaches  up  and  presses 
CARLYLE'S  hands.  He  kisses  her)  Oh,  I  shouldn't — 

RUTH.  Why  not?  There  isn't  anyone  else,  and — 
and  you  meant  that  song  for  me,  didn't  you? 

CARLYLE.     (Looking  at  house)     Yes. 

RUTH.  Isn't  it  dear  that  he  should  have  played 
that  just  then? 

CARLYLE.     (Absently)     Very  dear. 

RUTH.     We'll  remember  it  all  our  lives. 

MRS.  JORDAN.     (From  within)     Ruth! 

RUTH.    Oh,  bother! 

CARLYLE.    Don't  answer. 

MRS.  JORDAN.  (From  within)  Ruth!  Ruth! 
I  want  you ! 

RUTH.  (Calling,  going  to  center)  Yes!  Com 
ing!  (Rises.  To  CARLYLE)  I'll  have  to  go. 
Listen— when  you  tell  Miss  Gray  don't  mention 
her  affair  or  ours. 

CARLYLE.    Of  course  not. 

MRS  JORDAN.     (From  within)     Ruth  Jordan! 

RUTH.       (Calling)       Mother,     do    have!    some 


THE  LITTLE  GRAY  LADY  41 

patience.     (To  CARLYLE)     Perry,  run  to  the  corner 
and  get  me  some  roses.     Bring  them  to  my  room. 
CARLYLE.     I  will.      (Going  up  towards  passage 
L. — stops  returns  and  kisses  her) 

(Exit  CARLYLE  hastily  at  L.  RUTH  goes  to  porch 
and  is  about  to  exit  when  the  flutist  repeats: 
''Believe  Me  If  All  Those  Endearing  Young 
Charms " — As  she  pauses  an  instant,  enter 
ANNA  from  house.) 

RUTH.    Back  again,  Anna,  dear. 

ANNA.     Isn't  that  pretty? 

RUTH.  (Affectedly)  It's  the  most  glorious  love 
song  in  the  world. 

ANNA.  (Surprised)  I  thought  you  didn't  be 
lieve  in  love. 

RUTH.  I  believe  in  love  songs.  They  help  out  so. 
(Crosses  R.  c.) 

ANNA.     (Puzzled)     Yes.    Where's  Perry? 

RUTH.  He  went  to  the  end  of  the  alley. 
(Maliciously)  Where's  Mr.  Meade?  Are  con 
gratulations  in  order?  (c.) 

ANNA.    You  know  they're  not! 

RUTH,  (Goes  up)  Oh,  I  didn't  mean  to  be 
premature.  (Turns  on  steps)  Don't  forget  to  bait 
your  hook,  Anna.  (Exit  RUTH  in  house) 

(ANNA  looks  after  her.  CARLYLE  enters  from 
alley,  walking  fast  and  carrying  a  bunch  of 
roses.  He  does  not  attempt  to  hide  these  upon 
seeing  ANNA.  His  conduct  throughout  the 
scene  is  that  of  a  man  who  thinks  he  is  doing 
the  manly  thing.  ANNA'S  suffering  is  plain  to 
audience,  but  not  to  CARLYLE.) 

CARLYLE.    Oh !    Anna ! 


42  THE  LITTLE  GRAY  LADY 

ANNA.  Roses !  Aren't  you  being  just  a  little 
extravagant,  Perry? 

CARLYLE.  Roses  aren't  very  expensive  in  June, 
you  know. 

ANNA.  Well,  perhaps  not.  (Starts  to  return  to 
house)  I  suppose  you  want  to  use  the  moonlight 
a  while  longer. 

CARLYLE.  No.  I'm  going  in  presently.  I'd  like  to 
have  a  word  with  you. 

ANNA.  (Plappy  at  the  prospect  of  hearing  him 
say  he  loves  her)  With  me  ? 

CARLYLE.    Yes.    I — I— 

ANNA.     (Tenderly)     Is  it  so  hard  to  say? 

CARLYLE.  (More  at  ease.  Smiles)  Rather. 
(Business  zvith  roses)  Anna,  you  and  I  have  known 
each  other  ever  since  we  were  children. 

ANNA.  Since  you  were  a  tiny,  bare-legged  boy, 
and  I  was  a  gawky  little  girl. 

CARLYLE.  It  was  always  understood  that  some 
day  we  were  to  be  married.  I  suppose  I've  been 
rather  conceited  and — and  ungenerous  about  the 
matter.  It  never  occurred  to  me  that  you  might 
want  to  get  out  of  the  bargain. 

ANNA.    I?    What  are  you  talking  about,  Perry? 

CARLYLE.  Since  we  came  to  Washington  I've 
noticed  that  we've  been  drifting  apart.  I  don't 
blame  you.  You've  been  interested  in  steadier 
people  and  I — of  course,  I  haven't  panned  out 
particularly  well. 

ANNA.  I  haven't  asked  to  be  let  out  of — of  what 
you  just  called  our  bargain. 

CARLYLE.  That's  just  it.  You  haven't  asked. 
You've  been  too  fine  and  faithful.  But  I 

ANNA.  (Rises  and  speaks  with  a  great  effort) 
You  want  your  freedom  ? 

CARLYLE.  (Rises)  No!  No!  I  want  to  give 
you  yours.  Honestly — you  don't  care  anything  for 
me? 


THE  LITTLE  GRAY  LADY  43 

ANNA.    (Hurt  to  the  quick)    As — as  a  friend 

CARLYLE.  Certainly — as  a  friend.  You're  the 
best  friend  I  ever  had.  But  you — don't  love  me? 

ANNA.    No. 

CARLYLE.  And  you  don't  feel  that  you — that  we 
are  bound  by  what  has  been  between  us? 

ANNA.    No. 

CARLYLE.  (Worried  at  her  tone)  And  you're 
not  annoyed  at  me  for  coming  to  you  about  the 
matter  ? 

ANNA.  No,  Perry,  no !  For  a  long  time  I've 
thought  about  coming  to  you.  It's  a  great  deal 
better  that  we  should  understand.  (She  crosses  to 
c.) 

CARLYLE.  Yes;  isn't  it?  That's  just  what  I 
thought.  Now  we  can  go  on  in  the  same  old 
way  and  be  good  friends. 

ANNA.     Yes. 

CARLYLE.    Won't  you  shake  hands? 

ANNA.  Yes.  (She  gives  him  her  hand,  recoils 
and  withdraws  it) 

CARLYLE.  I  told  you  that  you  deserved  to  be  the 
happiest  woman  in  the  world.  I  hope  you  will  be. 

ANNA.    I  hope  you'll  be  happy,  too,  Perry. 

CARLYLE.  Remember !  I  don't  hold  you  to  any 
thing.  (Going,  drops  a  rose  in  front  of  the  steps. 
He  steps  on  the  porch  and  turns  to  her  again.  Once 
more  the  room  behind  the  curtains  at  the  upper 
window  is  illuminated)  I  want  you  to  understand 
that  I  didn't  mention  this  for  my  own  sake.  (RUTH, 
at  her  piano,  in  the  second  story  apartment,  begins 
playing:  "Believe  Me  If  All  Those  Endearing 
Young  Charms".  There  is  a  moment's  silence  on 
the  part  of  ANNA  and  CARLYLE)  That's  a  beautiful 
song,  isn't  it?  (Exits  in  house) 

(ANNA    stands    perfectly    still,    staring    ahead    of 


44  THE  LITTLE  GRAY  LADY 

her,  then  sinks  on  bench,  crying.  A  strong 
yellow  light  from  the  kitchen  door  illumines 
'her.) 

Curtain 

(i) — ANNA  still  sitting  on  bench  crying. 
(2) — ANNA,  going  up,  discovers  rose,  kisses  it,  and 
exits  in  house. 


THE  LITTLE  GRAY  LADY  45 


ACT  II 

SCENE  :  Miss  GRAY'S  room  at  MRS.  JORDAN'S.  The 
conventional  "  second  story  front "  in  a  'board 
ing-house,  commonplace  from  the  figured  paper 
that  adorns  the  walls  to  the  faded  red  carpet 
that  covers  the  floor.  Several  engravings,  of 
the  order  of  "  Daniel  in  the  Den  of  Lions,"  and 
a  large  painting  of  a  mill  by  a  stream  hang  in 
prominent  positions.  Tzvo  or  three  chairs, 
upholstered  zvith  red  or  yellow  plush,  are  scat 
tered  about  the  apartment.  A  table,  bearing 
magazines,  a  sewing  basket,  an  alarm  clock, 
and  various  other  sundries,  is  at  L.  c.  Beside 
it  is  a  Morris  chair  zuith  a  hassock  at  its  feet. 
A  particularly  large  flat  couch,  loaded  with 
pillows,  at  R.  c.  At  R.  i  E.  and  R.  3  E.  are 
windows  behind  lace  curtains,  and  between  these 
are  an  upright  piano,  with  a  mirror  hung  over 
it,  and  a  music  rack.  Down-stage  at  R.  a  writ 
ing  desk.  In  the  flat,  at  c.,  a  door  zvhich  when 
open,  admits  a  partial  viezv  of  the  hall  and  the 
head  of  a  flight  of  stairs.  R.  of  this  door  a 
bookcase,  well- filled,  and  L.  of  it  a  funereal 
mantelpiece  of  white  marble.  No  fire  is  burn 
ing  in  the  grate,  and  it  is  evident  that  none  is 
intended  to  burn  there.  At  L.  I  E.  a  door  lead 
ing  to  a  sort  of  closet.  Whatever  there  is  of 
cheerfulness  or  good  taste  about  the  apartment 
is  given  it  by  certain  belongings  of  Miss  GRAY'S 
— photographs,  bric-a-brac,  a  table  lamp,  etc. 

TIME:  It  is  7:45  o'clock  on  an  evening  early- in 
October. 


46  THE  LITTLE  GRAY  LADY 

DISCOVERED:  ANNA  is  discovered  seated  at  the 
piano  playing  some  simple  melody  slowly  and 
softly.  The  sound  of  animated  discussion  is 
heard  in  the  hall,  and,  ds  the  noise  grows 
louder,  she  abandons  the  instrument  to  listen. 

GRAHAM.  (Off  R.,  from  without)  You  haven't 
any  right  to  take  things  from  my  room ! 

MRS.  JORDAN.  (Off  R.,  from  without)  They 
weren't  addressed  to  you. 

GRAHAM.  I  don't  give  a  continental  who  they 
were  addressed  to.  They  were  on  my  table;  that's 
enough. 

MRS.  JORDAN.  Anyone  would  say  that  I  was 
doing  you  a  kindness. 

GRAHAM.  I  don't  want  kindness.  I  want  to  be 
let  alone.  Please  remember  that  in  future.  I  want 
to  be  let  severely  alone. 

MRS.  JORDAN.    It's  a  pretty  how-do-you-do 

GRAHAM.  That's  what  I  think!  Good-night! 
(Knocks  at  the  door  R.) 

ANNA.  Come  in.  (She  rises  from  the  piano 
stool.  Enter  GRAHAM.  He  is  obviously  angry  and 
carries  four  or  five  letters}  You  seem  to  be  put 
out. 

GRAHAM.     I'm  not  put  out,  but  I'm  infernally 
likely  to  get  out.    What  do  you  think  ?    Mrs.  Jordan 
quietly  goes  into  my  room  and  takes  possession  of  a 
pile  of  letters  lying  on  my  table. 
ANNA.    Were  they  your  letters? 
GRAHAM.    What  has  that  to  do  with  it?    (Comes 
down-stage)     No;  they  were  Miss  Carruth's  letters. 

ANNA.    Perhaps  Mrs.  Jordan  thought 

GRAHAM.  I  don't  pay  Mrs.  Jordan  to  think,  I 
pay  her  for  board  and  lodging. 

ANNA.  Well,  you  know,  it  does  look  queer.  I'm 
not  inclined  to  mix  in  other  people's  affairs,  but 
what  were  you  doing  with  Miss  Carruth's  mail? 


THE  LITTLE  GRAY  LADY  47 

GRAHAM.  Why,  I  was  going  to  read  it.  This 
letter  is  from  her  mother. 

ANNA.  Has  Miss  Carruth  asked  you  to  read 
letters  from  her  mother? 

GRAHAM.  No.  Not  exactly.  The  fact  is — con 
found  it,  can  you  keep  a  secret  ? 

ANNA.     I'm  keeping  a  good  many. 

GRAHAM.  Well,  then,  I'm  going  to  tell  you! 
(Lowers  his  voice)  Miss  Carruth  is  my  wife. 
(ANNA  bursts  into  laughter)  Is  there  anything 
funny  about  that? 

ANNA.  (Still  laughing)  Pardon  me.  Can  you 
keep  a  secret? 

GRAHAM.     (Mystified)     I  guess  so. 

ANNA.  Well  then,  I'm  going  to  tell  you. 
(Lowers  her  voice  in  imitation  of  him)  I  knowr 
she  is ! 

GRAHAM.     (Greatly  surprised)     Who  told  you? 

ANNA.    You ! 

GRAHAM.     Never  until  this  moment. 

ANNA.  Never  in  so  many  words.  But  when  I 
see  a  wedding  ring  suspended  on  the  inside  of  a 
woman's  shirtwaist,  I  draw  my  own  conclusions. 

GRAHAM.  Good  Heavens!  That's  the  evil  of 
peek-a-boo  waists !  I  wonder  if  Mrs.  Jordan  saw 
that  ring. 

ANNA.  If  she  had,  she  wouldn't  be  making  all 
this  trouble. 

GRAHAM.  Trouble !  That  woman  is  driving  me 
to  an  early  grave. 

ANNA.    How?    (Sits  R.  of  table) 

GRAHAM.  By  her  persecutions.  Yesterday  she 
found  a  pair  of  Mrs.  Graham's  garters  in  my  room. 
Of  course,  she  didn't  know  whose  garters  they  were, 
and  she  is  convinced  that  I  am  a  hopeless  mixture  of 
Lothario  and  Don  Juan. 

ANNA.    Poor  man.     (Laughing) 


48  THE  LITTLE  GRAY  LADY 

GRAHAM.  She  must  have  told  the  Captain,  too. 
Whenever  he  meets  me  he  winks. 

ANNA.     (Still  laughing  heartily)     Oh,  dear! 

GRAHAM.  She's  always  discovering  photographs 
of  my  wife  with  affectionate  inscriptions  on  them, 
and  I  don't  think  I've  kissed  Edith  once  this  month 
that  that  dragon  hasn't  materialized  out  of  thin  air 
in  front  of  me. 

ANNA.  Why  don't  you  confess  the  whole  thing 
to  her? 

GRAHAM.  Because  it  would  be  public  property 
inside  of  twenty-four  hours,  and  Edith  would  lose 
her  position.  (Going  dozvn  L.) 

ANNA.  But  Mrs.  Jordan  knows  a  married  woman 
can't  work  in  the  departments. 

GRAHAM.  That  wouldn't  keep  her  quiet.  No; 
we'll  be  going  to  South  America  next  month,  and 
we  can  stand  it  until  then ! 

ANNA.  You'll  be  a  bigamist  by  that  time.  Mrs. 
Jordan  will  have  you  married  to  Ruth. 

GRAHAM.  Did  you  ever  see  anyone  as  persistent 
as  she  is  about  that?  She's  determined  that  Ruth 
shan't  marry  Carlyle.  (ANNA,  who  has  been  sewing 
at  table,  puts  her  -work  in  the  basket,  rises,  and 
walks  silently  to  R.)  By  George!  She  isn't  any 
more  anxious  about  that  than  I  am! 

ANNA.     (Turning  to  him)     Why  you? 

GRAHAM.  Because  I'm  fond  of  Carlyle.  Can't 
you  see  what  that  girl  is  doing  with  him? 

ANNA.     (Agitated)     Yes!     Yes! 

GRAHAM.  I  don't  believe  she's  a  bad  kind  of  a 
girl.  She's  just  a  fool,  and  sets  a  pace  that  Carlyle 
can't  keep  up.  (Going  up  to  her;  the  table  between 
them)  Why,  their  tickets  for  the  theater  to-night 
cost  $4.  You  can't  do  that  sort  of  a  thing  on  a  hun 
dred  a  month. 

ANNA.    Perry  has  his  mother,  too. 


THE  LITTLE  GRAY  LADY  49 

GRAHAM.  (Walking  away  again)  You're  a 
friend  of  his.  Why  don't  you  speak  to  him? 

ANNA.  For  that  reason.  He  wouldn't  under 
stand.  (Faces  GRAHAM  with  sudden  resolution) 
No ;  I'm  willing  that  he  should  think  what  he  pleases 
of  me,  but  it  would  be  no  use. 

GRAHAM.  I  hate  to  see  a  good  manly  chap  being 
led  by  the  nose.  I've  begged  him  to  go  to  Venezuela 
for  me,  but  he  won't  do  it. 

ANNA.  If  you  had  known  him  out  West.  (Her 
tears  choke  her.  She  walks  to  the  mantel,  and  then 
turns  toivard  GRAHAM)  Oh,  I  wish  to  God  that 
neither  he  nor  I  had  ever  seen  Washington.  (Knock 
at  door) 

GRAHAM.  Sch!  That  must  be  Mrs.  Jordan. 
(Crosses  to  R.) 

ANNA.    Come  in. 

(Enter  RUTH.  She  is  neatly  dressed  in  a  traveling 
suit,  and  looks  most  unprepared  for  the 
theater.) 

RUTH.  (Nods  to  GRAHAM — addresses  ANNA) 
Good-evening,  dear.  Have  you  an  alcohol  lamp 
you  could  lend  me? 

ANNA.  (Coldly)  There's  one  in  the  closet. 
(Goes  to  door  at  L.,  GRAHAM  crossing  her  to  R.) 
Are  you  .going  to  wear  that  dress  to  the  theater? 

RUTH.  (Slightly  confused)  Yes,  my  best  gown 
is  at  the  cleaner's. 

GRAHAM.  (Looking  at  his  watch)  You  ought  to 
be  leaving.  It's  getting  late. 

RUTH.  (Hitching  at  her  skirt  to  pull  up  her 
stocking)  We  can  drive  to  the  National  in  five 
minutes. 

GRAHAM.  (Sotto  voice.  Raising  his  eyebrows) 
Drive ! ! 

RUTH.     (Repeats  business  with  skirt.    Addresses 


50  THE  LITTLE  GRAY  LADY 

ANNA)  I'm  afraid  you'll  have  to  let  me  go  with  you 
a  moment.  (Whispers)  My  garter's  broken. 

ANNA.  (Ungraciously)  All  right.  (They  go  to 
door  L.  ANNA  addresses  GRAHAM)  Excuse  me. 
(Exeunt  ANNA  and  RUTH.  Knock  at  the  door  c. 
ANNA  puts  her  head  out  of  the  other  door)  Will 
you  see  who  that  is,  please?  (She  closes  the  door 
L.  GRAHAM  goes  tip-stage  and  opens  door  c.) 

GRAHAM.    Oh,  Carlyle! 

(Enter  CARLYLE.  He  is  carefully  dressed,  but  looks 
haggard  and  worn.  He  walks  wearily  to  c.,  and 
drops  into  the  Morris  chair.) 

CARLYLE.  Hello,  Graham.  What  are  you  doing 
here? 

GRAHAM.  Calling.  (Indicating  the  door  L.) 
Both  the  girls  are  in  there.  What's  the  matter  with 
you? 

CARLYLE.    I've  got  a  bad  headache. 

GRAHAM.     Been  drinking  again? 

CARLYLE.    A  little. 

GRAHAM.    You  want  to  quit  that. 

CARLYLE.  Oh,  don't  you  preach.  If  you  had  as 
much  as  on  your  mind  as  I  have,  you'd  drink,  too. 

GRAHAM.  Maybe.  I  don't  claim  to  be  better 
than  anybody  else.  (Sits  R.) 

CARLYLE.  The  only  difference  between  bad  men 
and  good  men  is  a  difference  of  opportunity. 

GRAHAM.  (Coming  down)  Granted.  Now,  why 
don't  you  go  to  Venezuela? 

CARLYLE.    Don't  bring  that  up  again. 

GRAHAM.  I  need  someone  there  until  I  arrive  and 
I'll  need  someone  after.  I'll  give  you  $75  a  month 
and  keep. 

CARLYLE.  (Drawing  his  hand  across  his  head) 
Old  man,  if  you  knew  how  my  head  aches 

GRAHAM.     (Eagerly)     There's  a  boat  sailing  dav 


THE  LITTLE  GRAY  LADY  51 

after  to-morrow  from  New  York.  You  can  get 
ready  and  leave  here  to-morrow  night.  Listen  now ! 
You're  throwing  your  life  away  working  for  the 
Government.  There's  no  future  for  you — for  any 
body.  I  wouldn't  stay  here  another  year  for  a 
million  dollars.  Come  on!  Buck  up,  old  fellow, 
and  clear  out. 

CARLYLE.  (Rising,  pathetically)  You  know  I 
can't  go  and  you  know  why. 

GRAHAM.     (Angry)     Because  of  a  woman. 

CARLYLE.    You're  always  roasting  women. 

GRAHAM.  I'm  always  doing  no  such  thing.  I 
think  women  are  the  finest  articles  turned  out  of  the 
Celestial  workshop.  I  think  a  woman  like  Miss 
Gray  would  do  you  more  good  than  the  gold  cure. 
But  Ruth  Jordan 

CARLYLE.      (Firmly)      Now,  drop  that. 

GRAHAM.  I  won't'drop  it,  Carlyle,  and  you  know 
why  I  won't.  I  like  you  and  I'm  not  going  to  see 
you  drift  into  utter  ruin  without  trying  to  stop  you. 
(Goes  to  him  and  puts  his  hand  on  his  shoulder) 
Old  fellow,  you  don't  realize  how  you've  changed 
in  the  past  four  months — since  the  night  you  told 
me  you  didn't  care  anything  about  Miss  Jordan. 

CARLYLE.     I  didn't  then. 

GRAHAM.    You  don't  now ;  you  only  think  you  do. 

CARLYLE.  (Rises  and  crosses)  Does  it  strike  you 
that  you're  pretty  blunt? 

GRAHAM.  I'm  about  to  be  blunter.  This  girl's 
just  fascinated  you.  In  the  beginning  her  hold  on 
you  wasn't  worth  that.  (Snaps  his  fingers)  Now 
you're  with  her  all  the  time  and  she  does  about 
whit  she  pleases  with  you. 

CARLYLE."  You're  talking  nonsense. 

GRAHAM.  Oh,  you  think  she  doesn't,  but  she  does. 
I  don't  believe  the  girl  means  wrong,  but  she's  taken 
away  your  pride  and  your  strength  and  your  sense 
of  responsibility.  You  didn't  drink  a  drop  when 


52  THE  LITTLE  GRAY  LADY 

you  came  to  Washington.  You  saved  your  money 
and  took  care  of  your  mother — 

CARLYLE.    I  still  do. 

GRAHAM.  You  were  as  different  from  what  you 
are  now  as  chalk  is  from  cheese.  You'd  be  your 
self  again  if  you  had  a  decent  chance,  but  you'll 
never  have  a  chance  while  you  and  Ruth  Jordan  are 
in  Washington.  I'm  offering  you  an  opportunity. 
What  do  you  say  to  it? 

CARLYLE.  I  say  that  I  won't  let  you  or  anyone 
else  speak  ill  of  a  woman  I  know. 

GRAHAM.  (Stands  staring  at  him  a  moment. 
Then  furiously)  You  can  go  to  the  devil.  (Rushes 
up  to  the  door  c.,  opens  it,  then  cools  down,  closes 
it,  and  faces  CARLYLE)  But  you'd  better  go  to 
Venezuela. 

CARLYLE.  That's  more  like  it.  (GRAHAM  comes 
down)  Graham,  I  won't  go  to  South  America,  but 
there's  one  service  you  can  do  me. 

GRAHAM.     (Dubiously)     What  is  it? 

CARLYLE.    Lend  me  fifty  dollars. 

GRAHAM.     (Sucks  in  his  lips)     M'm!    When? 

CARLYLE.  To-night.  I've  got  to  have  it  to-night, 
or  it  won't  do  me  the  least  good. 

GRAHAM.  (Taking  bills  from  his  pocket)  I 
haven't  ten  dollars  about  me.  What  do  you  want 
with  it  ? 

CARLYLE.    I  can't  tell  you. 

GRAHAM.    Some  foolishness? 

CARLYLE.  No.  (Goe's  to  him)  Graham,  it's 
damned  serious.  (Takes  zvallet  from  his  pocket) 
I've  got  money  here,  but  it  isn't  mine  and  I'd  rather 
not  spend  it.  Unless  you  can  let  me  have  $50  I 
must. 

GRAHAM.  I  haven't  got  $50,  Carlyle.  (Pocket 
ing  the  bills  and  walking  L.)  No;  and  I  don't  be 
lieve  I'd  give  it  to  you  if  I  had. 

CARLYLE.     (Throwing  his  wallet  on  the  desk  and 


THE  LITTLE  GRAY  LADY  53 

following  GRAHAM)  Why?  Are  you  afraid  you 
wouldn't  get  it  back? 

GRAHAM.  A  few  minutes  ago  I  told  you  to  go  to 
the  devil. 

CARLYLE.     Well  ? 

GRAHAM.  Well!  Why  the  devil  can't  you  go 
without  my  help?  (Exit  at  c.,  slamming  the  door 
behind  him) 

CARLYLE.  (Calls  after  him)  Graham!  (There 
is  no  reply.  He  suddenly  becomes  limp) 

(Enter  RUTH  at  L.  with  alcohol  lamp  in  hand.    She . 
leaves  the  door  open,  advances  a  few  step's,  sees 
CARLYLE.    Returns  and  closes  it.    Crosses  to  R.) 

RUTH.  (In  a  low  tone)  Have  you  got  our 
tickets  to  Baltimore? 

CARLYLE.  No,  I  haven't.  Look  here.  What's 
the  use  of  sneaking  away  to  be  married  as  though 
we  were  committing  a  crime. 

RUTH.  What's  the  use.  Supposing  you  ask 
Mamma  ? 

CARLYLE.  Why  not  be  married  secretly  down 
town,  then?  I  don't  see  why  you  insisted  on  Balti 
more? 

RUTH.     Do  you  wrant  to  back  out? 

CARLYLE.  (Irresolutely}  No.  I  think  we  ought 
to  postpone  it,  though. 

RUTH.  I'm  in  my  traveling  gown,  my  valise  is 
packed,  I've  made  all  my  arrangements  to  go  from 
the  theater  to  the  depot.  If  we  postpone  the  wed 
ding  now,  we  postpone  it  indefinitely.  (Enter 
ANNA  at  L.  A  bell  rings  off-stage)  Here's  Anna. 

ANNA.     How  do  you  do,  Perry? 

CARLYLE.    I'm  not  well. 

RUTH.  (Goes  to  door  c.  The  sweetness  of  her 
tone  in  marked  contrast  with  her  sternness  of  an 


54  THE  LITTLE  GRAY  LADY 

instant  before)  We  shall  be  late,  Perry.  I've  got 
to  stop  for  my  hat,  you  know. 

CARLYLE.  (Addresses  ANNA  at  her  elbozv) 
Anna,  I  wonder  if — (Stops  short) 

ANNA.     If  what? 

CARLYLE.  Nothing.  I  couldn't  get  it  from  you 
for  that.  Good-night.  (Goes  tip-stage  and  joins 
RUTH) 

RUTH.    Good-night,  Anna. 

ANNA.     Good-night,  Miss  Jordan. 

(Exeunt  CARLYLE  and  RUTH.  They  leave  the  door 
open.  ANNA  sighs,  and  going  to  the  table,  picks 
up  her  sewing.  Sits  R.  of  table.  Without  hav 
ing  knocked  enter  MRS.  JORDAN,  at  c.  a  large 
pasteboard  box  in  her  hands.) 

MRS.  JORDAN.     Miss  Gray,  what  do  you  think? 

ANNA.  Oh,  Mrs.  Jordan,  I  didn't  hear  you 
knock. 

MRS.  JORDAN.  I  was  that  agitated  I  reckon  I  for 
got  to  knock.  Did  you  hear  the  front  door-bell  a 
minute  ago? 

ANNA.    I  don't  remember.    I  suppose  so. 

MRS.  JORDAN.  Well,  it  was  a  boy  from  the  Palais 
Royal  with  this  box  for  Mr.  Graham.  I  thought  it 
was  kind  of  funny  Mr.  Graham  getting  things  at 
the  Palais,  but  I  didn't  say  nothin'. 

(NOTE:  In  Washington  the  first  word  in  Palais 
Royal  is  given  the  French,  and  the  second  word 
the  English  pronunciation.) 

ANNA.    Naturally. 

MRS.  JORDAN.  But  coming  upstairs  the  cover 
fell  off  the  box.  Well,  what  do  you  suppose  was 
in  it? 

ANNA.     That  name  of  the  maker? 

MRS.  JORDAN.    No.    (Placing  the  box  on  the  piano 


THE  LITTLE  GRAY  LADY  55 

stool  and  holding  aloft  a  lace  night  gown  and  a 
corset  cover)     These ! 

ANNA.  (Restraining  her  laughter}  I  didn't 
know  men  wore  lace  night  gowns. 

MRS.  JORDAN.  (Sniffs)  Men,  indeed !  I  reckon 
you  didn't  know  men  wore  these  either.  (Holding 
tip  a  pair  of  embroidered  opera  stockings)  Now  I 
want  to  know  what  Mr.  Graham  intends  to  do  with 
them. 

ANNA.  Christmas  is  coming.  He  may  want  to 
hang  them  up  for  Santa  Claus. 

MRS.  JORDAN.  Santa  Claus  your  Grandmother ! 
He's  going  to  give  them  to  Miss  Carruth.  Posi 
tively  indecent  I  call  it.  (Fingers  the  stockings 
lovingly)  And  Ruth  almost  out  of  stockings,  too. 

ANNA.  (Takes  stockings  from  her  work-basket) 
Yes.  So  am  I. 

MRS.  JORDAN.  (Her  anger  rising)  What  would 
you  advise  me  to  do  about  it?  (A  bell  rings  off 
stage) 

ANNA.  Since  that  probably  is  Mr.  Graham  at 
the  bell,  I  should  advise  you  to  tie  up  the  box  as 
carefully  as  possible  and  take  it  to  him  at  once. 

MRS.  JORDAN.  (Tying  up  the  box)  But  in  my 
house ! 

.  ANNA.  I  suppose  Miss  Carruth  needs  stockings 
in  your  house  as  in  any  other.  (Enter  JORDAN  c., 
first  knocking  on  door.  He  carries  a  tray  with  a 
card  on  it  and  comes  down  back  of  table,  somewhat 
pompously)  -Good-evening,  Captain. 

JORDAN.     Good-evening,  Miss  Gray. 

ANNA.     (Reading  card)     Show  him  up,  please. 

MRS.  JORDAN.    Who  is  it? 

ANNA.    Mr.  Meade. 

MRS.  JORDAN.  Goodness,  and  I'm  not  dressed. 
(ANNA  turns  quickly  to  mirror  and  touches  her 
hair.  MRS.  JORDAN  redoubles  her  haste  in  closing 
box) 


56  THE  LITTLE  GRAY  LADY 

JORDAN.  (Leaning  over  balustrade  outside} 
Come  along,  Sam. 

MRS.  JORDAN.  Henry,  you  are  in  such  a  hurry. 
(Takes  box  under  her  arm.  The  stockings  are  hang- 
ing  out  of  it)  I'll  be  in  after  a  while,  Miss  Gray. 
{Exit  at  c.) 

JORDAN.    (Gravely  bowing  MEADE  in)    This  way. 

(Enter  MEADE.) 

ANNA.  (To  MEADE)  This  is  an  unexpected 
treat. 

MEADE.  Thanks.  (To  JORDAN  shaking  his  hand) 
Hello,  Cap.  How  are  the  mines? 

JORDAN.  (Losing  his  dignity  immediately  and 
coming  down)  Well,  I'll  tell  you,  Sam.  I  haven't 
been  able  to  do  much  with  them.  The  Coal  Trust's 
got  capital  scared.  I've  got  a  bill  before  Congress 
now. 

MEADE.    Pension  ? 

JORDAN.     No.    I  never  was  a  soldier. 

MEADE.     How'd  you  get  your  title? 

JORDAN.  Canal  boat.  (Sits  on  piano  stool) 
This  is  a  bill  to  build  a  home  for  survivors  of  the 
Custer  Massacre.  It's  worth  a  hundred  thousand 
dollars  to  me — if  it  passes. 

MEADE.     I  hope  it  passes.     Good-bye. 

JORDAN.  Good-bye.  (Rises.  To  ANNA)  Good 
night,  Miss  Gray. 

ANNA.  Good-night,  Captain.  (Exit  JORDAN  at 
c.)  Poor  old  fellow. 

MEADE.  (Places  his  hat  on  piano  and  looking 
about)  Got  it  pretty  nice  here,  haven't  you? 
(Points  to  door  L.)  That  another  room? 

ANNA.  (Sits  L.  of  table)  A  kind  of  large  closet. 
I  keep  my  wash-stand  in  there,  but  the  room's  not  of 
much  use.  There's  no  window  in  it. 

MEADE.  (Turning  to  window)  You  get  plenty 
of  light  from  here. 


THE  LITTLE  GRAY  LADY  57 

ANNA.    And  air.    Especially  in  winter. 

MEADE.  (Looking  at  picture  on  piano)  Who's 
this? 

ANNA.     My  brother  Fred. 

MEADE.  Humph.  (Takes  another  picture)  This 
Carlyle? 

ANNA.    Yes. 

MEADE.  (Reading  from  the  back)  "To  my 
little  gray  lady.  Canton,  September  3,  1895."  Five 
years  ago. 

ANNA.    Yes. 

MEADE.  (Putting  picture  back)  Now  he's 
engaged  to  Miss  Jordan. 

ANNA.     Yes. 

MEADE.  That's  what  I  call  a  dirty,  sneaking 
trick. 

ANNA.  We  won't  talk  about  it  if  you  please,  Mr. 
Meade. 

MEADE.    Will  you  marry  me  now  ? 

ANNA.    No. 

MEADE.    Why? 

ANNA.    Because  I  don't  love  you. 

MEADE.  You'd  better  marry  a  man  you  don't 
love  than  a  man  who  don't  love  you. 

ANNA.  I  shan't  marry  anyone,  Mr.  Meade. 
Will  you  sit  down? 

MEADE.  Thanks.  (Sits  R.  of  table.  There  is  a 
long  silence.  ANNA  sews,  MEADE  catches  sight  of 
CARLYLE'S  wallet,  picks  it  up,  looks  it  over  carefully, 
and  drops  it  on  the  desk  again} 

ANNA.     (Smiling)    Haven't  you  any  more  to  say? 

MEADE.    Lots. 

ANNA.     Say  it. 

MEADE.  (Troubled)  It's  not  easy  to  say. 
(Resolutely)  Miss  Gray,  did  you  ever  take  any 
money  that  didn't  belong  to  you? 

ANNA.    Yes.     (MEADE  leans  towards  her)    Once 


58  THE  LITTLE  GRAY  LADY 

I  took  a  quarter  from  my  mother's  purse  to  buy 
gumdrops  with.     I  was  whipped  for  it. 

(MEADE  relaxes.) 

MEADE.  (Playing  with  CARLYLE'S  wallet)  I 
don't  mean  that.  I  mean  did  you  ever  take  any 
money  out  of  the  Treasury  Department? 

ANNA.     Mr.  Meade!! 

MEADE.  You  needn't  get  huffy.  Lots  of  good 
people  have. 

ANNA.     Why  do  you  come  to  me? 

MEADE.  Because  this  hundred  dollar  bill  was 
marked.  The  minute  it's  spent  -I've  got  the  thief. 

ANNA.    And  so? 

MEADE.  If  you  took  it  you'd  better  tear  it  up. 
Did  you  take  it  ? 

ANNA.    Why,  what  a  question. 

MEADE.    I  want  a  square  no. 

ANNA.     (Looking  him  in  the  face)     No. 

MEADE.     That's  enough.     (Rises  relieved) 

ANNA.  Mr.  Meade,  you  asked  me  to  marry  you 
a  moment  ago,  believing  that  I  might  be  a  thief  ? 

MEADE.  Why,  what's  that  got  to  do  with  it  ?  As 
I  said,  plenty  of  good  people  make  mistakes.  Any 
way,  I  don't  love  you  because  you're  honest.  I  love 
you  because  you're  you. 

ANNA.     Oh. 

MEADE.    Now  will  you  marry  me? 

ANNA.  (Smiling  wistfully)  No,  and  I  know  just 
how  fine  a  man  I'm  giving  up,  too. 

MEADE.    That  don't  do  me  much  good. 

ANNA.    So  it  was  a  hundred  dollar  bill  this  time. 

MEADE.    One  of  the  yellow  boys. 

ANNA.    Made  the  same  way  the  other  was? 

MEADE.  Same  way,  out  of  pieces  torn  from 
mutilated  bills. 

ANNA.    What  made  you  suspect  me? 


THE  LITTLE  GRAY  LADY  59 

MEADE.  One  of  the  packages  inspected  came 
from  you.  The  bills  in  it  weren't  torn  very  much 
out  of  the  ordinary.  Nobody'd  have  noticed  them 
if  it  hadn't  been  for  the  other  bundles. 

ANNA.    Who  counted  the  other  bundles? 

MEADE.    Upton,  Ruth  Jordan  and  Carlyle. 

ANNA.    It  looks  ugly  for  all  of  us. 

MEADE.  It's  going  to  be  ugly  for  somebody.  I've 
got  something  in  my  pocket  here  that'll  pretty  nearly 
settle  the  maker  of  that  note  when  it  gets  back  to  the 
Treasury.  (Tap's  pocket) 

ANNA.     In  your  pocket — now? 

MEADE.  Yes.  Pinned  in.  Couldn't  take  any 
chances  of  losing  it.  (Rising)  Of  course  mum's 
the  word.  I'd  get  into  hot  water  if  the  chief  found 
I'd  talked.  (Takes  his  hat  from  piano  where  it  has 
lain,  and  brushes  it  with  his  sleeve) 

ANNA.     What's  your  hurry?     It's  early  yet. 

MEADE.  (Looking  at  his  watch)  Nearly  ten! 
(Replaces  watch)  Besides,  I've  said  all  I  came  to 
say.  Good-night. 

ANNA.  (Shakes  hands  with  him)  Well,  good 
night,  and  thank  you  for  your  generous  warning. 

MEADE.  Don't  mention  it.  (Stands,  wrestling 
with  what  is  evidently  a  nevv  idea) 

ANNA.     (Smiling)     Yes? 

MEADE.  If  you  knew  Carlyle  was  a  crook  would 
you  still  be  in  love  with  him. 

ANNA.  What  was  it  you  said  ?  "  I  don't  love  you 
because  you're  honest.  I  love  vou  because  you're 
you." 

MEADE.  I  guess  he's  straight  all  right.  Good 
night.  (Exit  MEADE  at  c.) 

ANNA.  (Musingly,  looking  toward  CARLYLE'S 
photo)  "  I  guess  he's  straight  ".  (Going  doivn  R.) 
He  hadn't  any  money  yesterday  I  know.  I  wonder 
when  that  bill  was  made.  (Knock  at  door  c.) 
Well? 


60  THE  LITTLE  GRAY  LADY 

MRS.  JORDAN.    (Without)    It's  me— Mrs.  Jordan. 
ANNA.    Come  in. 

(Enter  MRS.  JORDAN.    She  is  dressed  in  a  kimono 
and  has  her  front  hair  in  papers.) 

MRS.  JORDAN.  (Comes  down,  sits  L.  of  table) 
I  heard  Mr.  Meade  leave  and  I  thought  I'd  drop 
around  to  tell  you  something. 

ANNA.    I  was  just  going  to  bed  myself. 

MRS.  JORDAN.  You  go  and  get  in  something 
comfortable  while  I  talk. 

ANNA.  I  think  I  will.  (Exit  at  L.  ;  leaves  the 
door  open  so  that  her  voice  may  be  heard)  Go  on. 

MRS.  JORDAN.  You  remember  that  box?  (A 
parcel  on  the  table  catches  her  eye,  she  unwraps  it) 

ANNA.     Mr.  Graham's? 

MRS.  JORDAN.  Yes.  (Looking  at  the  parcel, 
which,  upon  being  unwrapped,  has  proved  to  be  a 
glass  jar)  Is  this  face  cream,  my  dear? 

ANNA.  In  the  jar?  Yes.  A  woman  at  the  office 
insisted  on  my  bringing  it  home. 

MRS.  JORDAN.    Do  you  mind  if  I  try  it  ? 

ANNA.  (The  sound  of  her  boot  dropping  on  the 
floor  is  heard)  You  may  have  it  all.  (MRS.  JOR 
DAN  unscrews  lid)  I  never  use  the  stuff.  I  think 
it  brings  wrinkles. 

MRS.  JORDAN.  Thanks,  dear.  (During  ensuing 
conversation  she  is  applying  the  cream,  her  face 
shining  more  and  more  with  each  anointment) 
Well,  when  I  took  up  that  box  to  Mr.  Graham's 
room,  (Crosses f  business)  he  wasn't  in.  (Crosses, 
business)  So  I  concluded  to  carry  it  to  Miss  Car- 
ruth.  (Pause.  ANNA  lets  boot  drop  off  scene) 

ANNA.    Yes,  I  hear. 

MRS.  JORDAN.  I  knocked  at  her  door,  but  there 
wasn't  any  answer.  Then  I  opened  it,  and  what  do 
you  reckon  I  saw? 


THE  LITTLE  GRAY  LADY  61 

ANNA.     Miss  Carruth? 

MRS.  JORDAN.    And  Mr.  Graham. 

ANNA.     (Laughs)     Kissing? 

MRS.  JORDAN.  Worse  than  that.  (Explosively) 
Shaving. 

ANNA.     Not  both  of  them. 

MRS.  JORDAN.  Of  course,  not  both  of  them.  Mr. 
Graham.  (Business) 

ANNA.     Dear  me.     How  dreadful. 

MRS.  JORDAN.  He  was  in  his  shirt  sleeves.  "  Mr. 
Graham,"  says  I,  "  I  won't  see  such  goings  on  in  my 
house  ". 

ANNA.     What  did  he  say? 

MRS.  JORDAN.  "  Mrs.  'Jordan "  says  he,  "  If 
you'd  knocked  you  wouldn't  a'  had  to  ".  I  think  I'll 
ask  her  to  leave. 

ANNA.  Why  her?  You  confess  it  was  Mister 
Graham  who  was  shaving. 

MRS.  JORDAN.     In  her  room. 

ANNA.  Well,  shaving  isn't  precisely  immoral, 
you  know.  (Pause) 

MRS.  JORDAN.  (Rising  to  look  at  herself  in  the 
mirror)  I  don't  think  I'll  have  him  marry  Ruth 
now.  How  long  ought  I  to  keep  this  on? 

ANNA.     About  fifteen  minutes. 

MRS.  JORDAN.  (Seating  herself  R.  of  table} 
Though,  goodness  knows,  I'd  rather  she'd  marry  any 
body  sooner  than  Perriton  Carlyle. 

ANNA.     Why  are  you  so  down  on  Perry? 

(Enter  ANNA.  She  looks  exceedingly  pretty  in  a 
soft  negligee  and  slippers.  She  is  carrying  her 
cast-off  clothing  in  a  heap  over  her  arm  and 
drops  it  in  rocking  chair  L.  of  table.) 

MRS.  JORDAN.  He's  reckless  and  good-for-noth 
ing.  I  wouldn't  trust  him  with  women  either.  He 
was  making  up  to  you  when  yon  came  here ;  now 


62  THE  LITTLE  GRAY  LADY 

it's  Ruth.     Why,  he  smiled  at  me  the  other  night. 

ANNA.     Impossible. 

MRS.  JORDAN.  Yes,  he  did,  and  when  I  told  the 
Captain  he  said  if  it  happened  again,  he'd  thrash 
Mr.  Carlyle  within  an  inch  of  his  life. 

(Knock  at  door  c.) 

ANNA.    Who's  there? 

GRAHAM.     (Without)     Miss  Carruth. 

MRS.  GRAHAM.  (Without)  And  Dick.  (Sound 
of  kiss  is  heard.  Evidently  addressing  DICK) 
Dick,  dear,  don't.  You  don't  know  where  that  old 
woman  may  be. 

(MRS.  JORDAN  springs  up.) 

MRS.  JORDAN.  (Sotto  voice)  Old  Woman!! 
Me ! !  (Rises) 

ANNA.  Just  a  minute.  (Covers  the  bundle  of 
clothes  with  pillows  from  couch)  Now. 

(Enter  MR.  and  MRS.  GRAHAM.     They  are  just  in 
from  the  street  and  dressed  accordingly.) 

MRS.  GRAHAM.  (Starting  zvith  surprise  at  seeing 
MRS.  JORDAN)  Oh,  Gracious,  I  didn't  know  you 
were  in  here. 

MRS.  JORDAN.     (Sniffs)     No;  I  reckon  not. 

GRAHAM.    What's  wrong  with  your  face. 

MRS.  JORDAN.    My  face? 

ANNA.    He  means  that  Cream  of  Youth. 

MRS.  JORDAN.    Oh,  is  that  all  ? 

MRS.  GRAHAM.  (Excitedly)  Miss  Gray,  you 
can't  guess  what  has  happened. 

ANNA.     I  shouldn't  try. 

MRS.  GRAHAM.  Well,  you  know  when  Dick — 
when  Mr.  Graham's  uncle  died  he  was  supposed  to 
be  land  poor. 


THE  LITTLE  GRAY  LADY  63 

GRAHAM.  Mr.  Carr,  his  lawyer,  wrote  that  he'd 
left  that  plantation  in  Venezuela,  but  absolutely 
nothing  else.  Then  I  made  up  my  mind  suddenly 
that  Td  get  the  money ;  that  plantation  would  be- 
cpme  an  object  in  life. 

MRS.  GRAHAM.  He  woke  me  up  in  the  middle  of 
the  night  to  tell  me  about  it. 

MRS.  JORDAN.     (Shouting)     He  what? 

ANNA.  He  knocked  on  her  door  in  the  middle 
of  the  night  to  tell  her  about  it. 

MR.  and  MRS.  GRAHAM.  Yes;  that's  right.  He 
knocked  on  her  door,  etc.  (GRAHAM  mops  face  with 
handkerchief) 

MRS.  JORDAN.    Oh. 

GRAHAM.  The  lawyer  telegraphed  me  to-night 
that  he  was  on  his  way  to  Richmond  and  wished  I 
would  meet  him  at  the  station. 

MRS.  GRAHAM.    So  we  did. 

GRAHAM.  And  he  says  he  thinks  he's  going  to 
realize  four  or  five  thousand  dollars  from  some  min 
ing  stock  of  Uncle  Billy's. 

ANNA.    What  luck. 

GRAHAM.  He'll  know  by  Friday,  and  if  he's  not 
mistaken 

MRS.  GRAHAM.  Dick  and  I  will  take  the  next 
boat  for  Venezula.  What  do  you  think  of  that  ? 

MRS.  JORDAN.  (Rising  majestically)  I  think  it's 
disgraceful.  I've  never  had  such  connivings  in  my 
house  before,  and  I  hope  I  never  won't  again. 
(Goes  to  them)  The  next  boat  for  Venezuela. 
(Eyplosively  at  door.)  Good-night.  {Exit  MRS. 
JORDAN) 

GRAHAM.  (Laughing,  as  do  they  all)  We've 
cooked  our  goose. 

MRS.  GRAHAM.  Never  mind.  When  we  hear 
from  Mr.  Carr,  we'll  tell  her  the  truth  and  resign 
our  positions.  (Going  to  door  c.)  Isn't  she  the 
stupid  old  thing  not  to  guess? 


64  THE  LITTLE  GRAY  LADY 

ANNA.  I  am  sure  I  congratulate  you  both  with 
all  my  heart. 

GRAHAM.  I  wish  you'd  speak  to  Carlyle  when 
you  see  him  to-morrow  at  the  office.  I  wanted  him 
to  sail  the  day  after  to-morrow  on  the  San  Bias, 
and  he  refused. 

(A  clock  outside  strikes  ten.) 

MRS.  GRAHAM.    Come  on,  Dick.    It's  ten  o'clock. 
ANNA.    That's  not  late. 

GRAHAM.  Yes  it  is — in  Washington.  Good 
night. 

ANNA.    Good-night  and  good  luck. 
MRS.  GRAHAM.    Good-night,  Miss  Gray. 

(Exeunt  MR.  and  MRS.  GRAHAM.  ANNA  locks  the 
door  after  them  and  turns  down  the  gas  jet. 
Then  lowers  the  folding  bed.  She  takes  a 
couple  of  gaudy  sofa  pillows  and  puts  them 
in  white  cases,  adding  them  to  the  number* 
on  the  bed.  Then  she  tucks  in  the  clothes 
at  the  bottom  and  sees  that  they  are  clamped 
tight.  She  goes  to  R.  and  arranges  her  at 
tire  for  the  morning,  putting  her  shoes 
side  by  side  at  the  foot  of  the  chair,  etc.  Next 
she  winds  the  alarm  clock.  She  braids  her  hair, 
takes  her  watch  and  kerchief  from  the  bureau, 
and,  returning  to  the  bed,  places  them  beneath 
the  pillow.  Gets  on  her  knees  in  front  of  the 
folding  bed  and  looks  under  it.  As  she  rises 
to  her  feet  again  there  is  a  gentle  rapping  at 
the  door.  She  'stops  and  listens,  a  puzzled  ex 
pression  on  her  face.  The  rapping  is  repeated. 
She  goes  up-stage  and  opens  the  door  a  few 
inches.) 

ANNA.     (In  a  loud  whispr)     Perry. 
CARLYLE.     (Without)     Let  me  in  a  minute. 


THE  LITTLE  GRAY  LADY  65 

ANNA.  (CARLYLE  enters — pushing  past  her  as 
she  tries  to  restrain  him.  He  has  been  drinking 
heavily,  but  is  not  quite  drunk.  ANNA  closes  the 
door  after  him,  but  does  not  lock  it.  Both  come 
down)  You  shouldn't  come  to  my  room  at  this 
hour.  You  might  get  me  into  all  sorts  of  trouble. 

CARLYLE.  (Puts  his  hat  on  table)  I'm  going 
right  away.  Did  I  leave  my  wallet  around  here: 

ANNA.  No.  (Sees  him  in  the  light  for  the  first 
time)  You've  been  drinking. 

CARLYLE.  No,  I  haven't.  (Crosses  to  R.  in 
sistently)  I  want  to  know  if  you  have  seen  that 
wallet.  I've  got  to  have  it.  There's  a  hundred  dol 
lar  bill  in  it. 

ANNA.  (Suddenly  suspicious)  A  hundred  dol 
lar  bill? 

CARLYLE.  (Picking  up  the  wallet  from  the  table) 
Here  it  is.  I  thought  I  left  it  here.  (Starts  to  get 
his  hat.  ANNA  intercepts  him) 

ANNA.  Perry,  where  did  you  get  that  hundred 
dollar  bill? 

CARLYLE.  (Puts  wallet  in  his  pocket)  Don't 
keep  me  now,  Anna.  I've  got  a  carriage  waiting 
for  me  downstairs. 

ANNA.  Where  did  you  get  that  hundred  dollar 
bill? 

CARLYLE.  My  salary,  of  course.  Tuesday  was 
the  fifteenth. 

ANNA.  And  you  drew  fifty  dollars,  twenty  of 
which  went  to  your  mother.  (Advances  tozvard 
him)  Tell  me  the  truth,  Perry. 

CARLYLE.  What  reason  have  you  to  believe  that 
I  am  not  telling  the  truth. 

ANNA.  I  know  you're  not.  I  know  that  money 
couldn't  have  come  from  your  salary,  and  I  almost 
know  where  it  did  come  from.  (Impressively) 
You  remembered  what  you  heard  Mr.  Meade  say 
about  putting  bills  together. 


66  THE  LITTLE  GRAY  LADY 

CARLYLE.  (Exasperated)  Now,  look  here,  Anna, 
You're  going  too  far.  Being  a  friend  doesn't  give 
you  the  right  to 

ANNA.  I  don't  want  you  to  make  a  fool  of  your 
self.  Did  you  take  that  money  out  of  the  treasury? 

CARLYLE.    No,  I  didn't. 

ANNA.    Then  where  did  you  get  it? 

CARLYLE.  I  don't  choose  to  tell  you.  Now  will 
you  let  me  go? 

ANNA.  Yes.  (He  goes  to  table  and  is  about  to 
take  his  hat  when  her  speech  stops  him)  Only 
you'd  better  not  spend  that  bill.  It's  marked. 

CARLYLE.  (Takes  wallet  from  pocket)  Who 
told  you  that? 

ANNA.    Oh,  so  you  did  take  it  from  the  treasury. 

CARLYLE.  (Examining  both  sides  of  the  bill) 
It's  not  marked. 

ANNA.  You  don't  suppose  the  Secret  Service 
would  mark  a  bill  so  that  you  could  recognize  it  a 
block  away.  I  tell  you  if  you  spend  that  money 
you're  gone. 

CARLYLE.  (Alarmed)  The  Secret  Service !  (In 
specting  the  note  again)  Who  told  you  it  was 
marked  ? 

ANNA.     I  can't  give  you  his  name. 

CARLYLE.  (Loudly)  It  was  Meade.  That's  how 
he  knew  so  much  about  the  twenty.  He's  in  the 
Secret  Service. 

ANNA.    Sch!    Mrs.  Jordan  will  hear  you. 

CARLYLE.  (Puts  wallet  back  in  his  pocket.  Starts 
up-stage)  Well,  I  can't  help  it.  I've  got  to  have  the 
money. 

ANNA.  You  don't  mean  to  say  that  you  are  going 
to  spend  it? 

CARLYLE.  (Kindly)  Don't  be  silly,  Anna.  Til 
put  it  back  the  first 

ANNA.  This  isn't  a  question  of  right  and  wrong 
alone.  It's  a  question  of  being  caught. 


THE  LITTLE  GRAY  LADY  67 

CARLYLE.    Well,  I've  got  to  take  the  chance. 

ANNA.  You  haven't  any  chance.  If  you  need 
money  so  desperately  why  didn't  you  hold  back  your 
mother's  allowance  a  few  days  and  make  it  up  to 
her  on  the  first? 

CARLYLE.  I  thought  of  that,  but  I  couldn't  do  it. 
She  needed  money  too.  I  can't  let  my  mother  suffer 
for  my  mistakes. 

ANNA.  But  now — surely  you  can  wait.  Wait 
'til  to-morrow,  Perry,  and  you'll  think  better  of  this 
thing.  You're  not  yourself  to-night.  Wait  'til  to 
morrow  and  I'll  get  the  money  for  you. 

CARLYLE.  (Going  down  for  his  hat)  No.  Can't 
you  see  I'm  between  two  fires?  If  there's  going  to 
be  any  trouble  I'm  in  for  it  anyway. 

ANNA.  (Taking  the  hat  and  holding  it  away 
from  him)  Nonsense.  Wait  a  few  hours  and  turn 
it  over  in  your  mind.  You're  not  used  to  liquor, 
Perry,  and  it  makes  you  do  mad  things.  If  it 
weren't  for  that  you  would  never  have  taken  that 
money. 

CARLYLE.  (Growing  angry)  Give  me  that  hat. 
I've  got  to  go,  I  tell  you. 

ANNA.  You  shan't  go  with  my  consent.  (Throws 
the  hat  in  room  at  L.  and  tries  to  close  the  door  on  it. 
CARLYLE,  without  actually  touching  her,  pulls  the 
door  open  and  rushes  in  after  the  hat) 

CARLYLE.  Hold  on !  (ANNA  bangs  the  door  and 
locks  him  in,  leaning  against  it,  in  utter  exhaus 
tion.  CARLYLE  throws  himself  against  the  other 
side)  Here,  let  me  out ! 

ANNA.  Not  until  you  give  your  word  not  to 
spend  that  money. 

CARLYLE.    I'll  break  the  door. 

ANNA.     No,  you  won't. 

CARLYLE.     Why  won't  I? 

ANNA.  Because  that  disturbance  wcuM  corn- 
promise  me. 


68  THE  LITTLE  GRAY  LADY 

CARLYLE.    Well,  let  me  out. 

ANNA.  I  will,  if  you'll  only  promise  to  keep  the 
bill  until  to-morrow. 

CARLYLE.  (Getting  very  angry)  I'll  promise 
nothing.  You've  no  right  to  detain  me  this  way. 

ANNA.     I'm  doing  it  for  your  sake. 

CARLYLE.  (Furiously)  If  you  don't  let  me  out 
I'll  believe  you're  doing  it  for  your  own — because 
you  are  jealous  of  Ruth. 

ANNA.    Perry. 

CARLYLE.  I'll  believe  you  want  to  queer  me  with 
her.  You've  always  been  jealous  of  her.  You've 
always  been  in  love  with  me. 

ANNA.  That's  a  lie.  I  never  loved  you.  (There 
is  a  loud  knock  at  door  c.)  Sch. 

CARLYLE.    I  didn't  go  to  say  that  Anna,  I 

ANNA.  Sch.  (There  is  another  knock.  ANNA 
speaks  in  a  low  frightened  tone)  That's  Mrs. 
Jordan. 

CARLYLE.     (In  the  same  tone)    Better  let  me  out. 

(Another  peremptory  knock.) 

ANNA.  No,  keep  quiet.  (To  the  person  outside) 
Yes,  what  is  it? 

RUTH.  -(Without)    It's  Ruth  Jordan.    Let  me  in. 

ANNA.  Come  in.  (Enter  RUTH  wearing  hat 
and  coat.  She  is  obviously  angry)  What  do  you 
want? 

RUTH.    Where  is  Perry  Carlyle? 

ANNA.  Perry?  Why  I  thought  he  was  at  the 
theater  with  you. 

RUTH.  Five  minutes  ago  he  was  in  this  room 
with  you.  He  left  me  in  the  carriage  while  he 
came  up  here  to  look  for  his  wallet.  What  have 
you  done  with  him? 

ANNA.  What  have  /  done  with  him?  That's 
funny. 


THE  LITTLE  GRAY  LADY  69 

RUTH.  Isn't  Mr.  Meade  enough  for  you?  Do 
you  want  every  man  in"  the  house?  What  do  you 
suppose  Mamma  will  say  when  she  hears  of  you 
hiding  Mr.  Carlyle  in  your  room  at  this  hour? 

ANNA.  I  tell  you  he  isn't  here.  He — he  left 
some  time  ago. 

RUTH.     (Looking  about)     Perry!     Perry! 

ANNA.    He  isn't  here. 

RUTH.  (Going  to  closet  dodr)  Don't  tell  lies, 
Anna.  (Tries  door)  Why  is  this  door  locked? 
Open  it. 

ANNA.     I  won't. 

RUTH.    Why  not  ? 

ANNA.  Because  this  is  my  room  and  I  do  what 
I  please  in  it.  Please  go  at  once. 

RUTH.  And  leave  him  to  you?  I  guess  not. 
Perry — (Rattling  door  violently)  Perry,  answer 
me. 

ANNA.    You'll  wake  everybody  in  the  house. 

RUTH.     Then  open  the  door.     Perry!     Perry! 

ANNA.  (In  desperation)  Open  it  yourself. 
The  key's  in  the  lock,  if  you  weren't  too  excited 
to  see  it.  (She  runs  to  door  c.,  locks  that  and  comes 
down  holding  the  key) 

RUTH.  (Throwing  open  closet  door)  Perry! 
(He  enters)  Now,  perhaps  you  can  explain  this. 

CARLYLE.     I  can  explain  it. 

RUTH.  I  don't  care  for  any  explanation  from 
you.  The  best  thing  you  can  do  is  to  leave  this  room 
with  me. 

CARLYLE.  (Firmly)  You  must  listen  first.  I've 
been  drinking — you  know  it.  Miss  Gray  had  to  lock 
me  up  to  keep  me  from  disturbing  everybody  in  the 
house. 

RUTH.  That's  a  likely  story.  Will  you  come? 
(She  tries  door  c.  finds  it  locked,  sees  the  key  in 
ANNA'S  hand — snatches  it,  and  starts  for  door) 

ANNA.     Ruth,  you  don't  understand.     Don't  un- 


70  THE  LITTLE  GRAY  LADY 

lock  that  door.     He's  a  ruined  man  if  he  passes 
it. 

RUTH.  Which  means  that  he  will  lose  you,  I 
suppose. 

ANNA.  (Her  heart  breaking)  No,  no,  no.  I 
don't  want  him.  I  don't  care  for  him.  Oh,  believe 
me,  I  don't.  I  love  Sam  Meade — •• — 

CARLYLE.    I'll  go. 

RUTH,     (to  ANNA)     Then  don't  interfere. 

ANNA.  (All  this  simultaneously)  I  resign  Perry 
to  you.  I'll  promise  never,  never  to  see  him  again. 
Only  don't  open  that  door  until  he's  made  me  the 
promise  I  want  from  him.  If  you  do,  you  send  him 
to  prison. 

RUTH.  A  promise.  A  trick  to  steal  my  sweet 
heart.  (To  PERRY)  Will  you  come? 

CARLYLE.    Yes.     (Goes  to  door) 

ANNA.  I'll  never  see  him  again  if  you'll  only 
wait.  Open  that  door  and  I  will  take  him  from  you. 
I'll  know  that  you  care  nothing  for  his  welfare  and 
I'll  do  everything  in  God's  world  to  keep  him  from 
you.  Ruth !  Ruth ! 

RUTH.  (Throws  open  door)  Go  on,  Perry. 
Quick,  she'll  waken  Mamma. 

ANNA.  (Throwing  herself  on  CARLYLE)  Perry, 
for  God's  sake  don't  spend  that  money. 

CARLYLE.    I  must.     (Exit) 

ANNA.  You've  sent  him  to  his  ruin — to  the  devil. 
Now  it's  a  battle  between  us  for  the  man  I  love 
and  ^you  don't.  You  shan't  have  him  now.  You 
shan't.  I'll  do  anything  in  the  world  to  prevent  it. 

RUTH.  You  will !  You'll  have  to  act  quick  then. 
The  carriage  is  waiting  to  take  us  to  the  B.  &  O. 
station.  We're  going  to  Baltimore  to  be  married. 
You've  mixed  in  my  affairs  for  the  last  time.  In 
two  hours  I'll  be  the  wife  of  Perrv  Carlvle 
(Exits) 

ANNA.     (Stunned  for  an  instant.    Recovers  her- 


THE  LITTLE  GRAY  LADY  71 

self.  Runs  to  door  c.,  flings  it  open  and  screams 
over  the  balustrade)  Mrs.  Jordan!  Mrs.  Jordan! 
Come  quick !  Ruth's  run  away  with  Perry  Carlyle  ! 

Quick  curtain 

(First  call — General  hubbub.     Voices  from  below. 
MRS.  JORDAN  calling  "Henry",  etc.) 


72  THE  LITTLE  GRAY  LADY 


ACT  III 

SCENE:  A  room  in  the  Redemption  Agency  at  the 
Treasury  Department.  The  setting,  which 
should  be  reproduced  from  a  photograph,  in  its 
essentials  is  as  follows:  The  flat  represents  a 
high,  white-washed  wall,  in  which  there  are 
three  lofty  windows.  Through  these  windows 
are  seen  the  familiar  pillars  of  the  building, 
and,  beyond  them,  the  corner  of  Fifteenth  and 
F  Streets.  At  L.  2  E.,  a  grated  door,  which  is 
locked  and  unlocked  by  one  man  whenever  any 
body  is  given  admission  or  egress.  At  R.  I  E. 
a  door  leading  to  another  room.  The  furniture 
consists  principally  of  chairs  and  desks,  five 
of  these  latter,  in  a  straight  line  from  right  to 
left,  belonging  to  Miss  WADLEIGH,  ANNA, 
CARLYLE,  RUTH  and  UPTON.  Pictures  on  the 
wall  represent  GEORGE  WASHINGTON,  ABRAHAM 
'  LINCOLN,  etc.  The  day  is  that  following  the 
one  which  the  preceding  act  transpired,  and  a 
large  clock  on  the  flat  indicates  that  the  hour  is 


AT  RISE  :  The  Clerks  are  discovered  at  work.  Each 
has  at  her  side  a  bundle  of  bills,  from  which  she 
counts  a  hundred.  This  bundle  of  one  hundred 
is  done  up  in  a  narrow  strip  of  paper,  which 
the  clerk  initials.  She  also  makes  an  entry  on 
an  invoice  sheet  at  her  side.  After  a  few 
minutes  of  pantomime  a  gong  rings.  One  by 
one  the  clerks  rise,  go  to  a  teller  at  a  larger  desk 
or  behind  a  window,  and  turn  over  bundles  to 


THE  LITTLE  GRAY  LADY  73 

him.  This  official  signs  for  each  bundle.  TJiis 
done,  the  gong  rings  again.  There  is  immediate 
confusion,  everyone  making  preparations  for 
luncheon.  Miss  WADLEIGH,  an  excessively 
stout  and  unprepossessing  woman  of  fifty-five, 
spreads  a  neivspapcr  over  her  desk  to  serve  as 
a  table  cover.  MR.  UPTON,  extremely  short, 
extremely  thin,  and  extremely  effeminate,  gives 
her  his  fussy  assistance.  RUTH  joins  them 
quickly,  and  CARLYLE  with  more  hesitation. 
ANNA  starts  to  leave  the  room.  CARLYLE  goes 
to  her. 

CARLYLE.  (Almost  in  a  whisper)  Did  you  get 
the  bill  ?  You  can  tell  me  now. 

ANNA.  (In  the  same  tone)  Ssch!  When  I  come 
back. 

(CARLYLE  strolls  to  the  group  at  R.) 

Miss  WADLEIGH.  (To  ANNA)  Won't  you  have 
some  lunch  with  us,  Miss  Gray? 

ANNA.  Thank  you.  After  a  while,  perhaps.  I 
want  to  use  the  telephone  first.  (Exits  L.) 

Miss  WADLEIGH.  Miss  Gray's  been  looking  bad 
all  day.  I  suppose  she's  worried  about  this  money 
business. 

UPTON.  You  can't  blame  her.  I  won't  feel  safe 
myself  until  the  thief's  found. 

Miss  WADLEIGH.  Will  you  get  the  teapot,  please  ? 
It's  in  the  cloak  room.  (UPTON  exits  R.,  returning 
at  once  with  pot  and  alcohol  lamp)  They  say  it's 
the  second  time  this  year. 

CARLYLE.    Who  says? 

Miss  WADLEIGH.  Mr.  Moore.  He  tells  me  every 
thing  that  happens  in  this  division. 

RUTH.  Oh,  Miss  Wadleigh!  Is  the  Chief  in 
your  toils,  too? 


74  THE  LITTLE  GRAY  LADY 

Miss  WADLEIGH.  (Taking  up  a  piece  of  pie) 
Now,  Ruth,  you  mustn't  talk  that  way.  (UPTON 
grabs  playfully  at  the  pie.  Miss  WADLEIGH  co- 
quettishly  slaps  his  hand) 

UPTON.     Is  that  mine? 

Miss  WADLEIGH.    Naughty! 

UPTON.  Cruel !  (Seriously)  I  never  was  so 
surprised  in  my  life  as  when  I  got  down  this  morn 
ing  and  found  these  desks  locked. 

CARLYLE.  (Rattling  the  top  of  the  desk  next 
him)  Are  they  all  locked? 

UPTON.  Every  one.  They'll  be  searched  after 
we  go.  (To  Miss  WADLEIGH)  That  tea's  steeped 
enough. 

Miss  WADLEIGH.    Hardly. 

UPTON.  Oh,  pardon  me.  I  can  tell  from  the 
smell.  (Miss  WADLEIGH  pours  a  cup  full)  See. 

Miss  WADLEIGH.  (Puts  sugar  in  the  cup) 
There !  Two  lumps. 

UPTON.  Oh,  scissors !  I  only  take  one !  (Fishes 
one  lump  out  and  sips  the  beverage  delicately) 

(Business  of  Miss  WADLEIGH  pouring  tea  for  the 
others.) 

RUTH.  They  may  have  been  through  the  desks 
already. 

UPTON.  I  guess  not.  They  will  go  through  them, 
though.  That's  how  the  woman  was  caught  last 
June.  Just  a  few  little  scraps  of  bill  in  her  desk. 

CARLYLE.  I  shouldn't  think  they'd  expect  to  get 
two  fish  with  the  same  bait.  The  man — the  woman 
who  did  this  must  have  taken  warning. 

Miss  WADLEIGH.  (Leaning  forward  con 
fidentially)  I'll  tell  you  something,  but  you  mustn't 
repeat  it  to  a  soul.  They're  watching  Miss  Gray. 

CARLYLE.     Watching  Anna!     Nonsense! 

RUTH.  (At  the  same  moment)  How  do  you 
know? 


THE  LITTLE  GRAY  LADY  75 

Miss  WADLEIGH.  Some  of  the  most  suspicious 
looking  bills  were  in  her  bundles. 

CARLYLE.     That  doesn't  mean  anything. 

Miss  WADLEIGH.  It  means  a  good  deal  to  a  man 
as  sharp  as  Mr.  Meade ! 

RUTH.  Meade!  Huh!  If  the  thing's  in  his 
hands  he'll  take  care  that  Miss  Gray  doesn't  get 
into  trouble.  He's  in  love  with  her ! 

Miss  WADLEIGH.  Why,  Ruth  Jordan!  You 
know  that  Sam  Meade's  in  love  with  me ! 

CARLYLE.  Miss  Gray  won't  need  anybody's  pro 
tection.  She's  innocent  of  any  wrong-doing.  She 
may  not  even  have  seen  the  notes  you're  talking 
about. 

Miss  WADLEIGH.    Well,  she  may  not. 

CARLYLE.  She  did  not.  I'll  stake  my  life  on 
Anna  Gray. 

UPTON.  She  might  as  well  have  the  game  as  the 
name.  If  they  fasten  the  theft  on  her  she'll  go  to 
prison,  whoever  the  real  thief  is. 

CARLYLE.  (Impulsively)  If  they  fasten  the  theft 
on  her  the  real  thief  will  confess !  (He  observes 
that  the  others  are  looking  on  him  in  amazement) 
Surely  even  a  thief  would  be  man  enough  for  that ! 

(Enter  BOB,  L.,  carrying  a  paper  sack.     The  door 
keeper  admits  him  L.) 

RUTH.  (Leaving  the  party  and  going  to  join 
BOB  at  L.)  Hello,  Bob!  Wrhat  are  you  after? 

BOB.    After  Miss  Gray.    Got  her  lunch. 

RUTH.    Didn't  she  bring  it? 

BOB.  Nope.  Said  she  wouldn't  have  time  to 
eat. 

RUTH.     (Suspiciously)     Oh! 

BOB.  So  your  mother  sent  me  with  it.  She  said 
after  what  happened  last  night 

RUTH.     (Stuffs  the  remainder  of  her  pie  in  his 


76  THE  LITTLE  GRAY  LADY 

mouth,  thus  effectually  choking  his  utterance. 
Looks  around  to  see  if  he  has  been  overheard.  Miss 
WADLEIGH  is  just  disappearing  into  the  room  R.,  fol 
lowed  by  CARLYLE  and  UPTON,  bearing  the  soiled 
dishes.  The  groups  up-stag e  have  sauntered  off) 
Here's  Miss  Gray  now. 

(ANNA  enters  L.    BOB  goes  to  her  and  endeavors  to 
speak,  holding  out  her  lunch.) 

ANNA.  Why,  Bob!  What's  the  matter  with 
you? 

BOB.  Pie!  (Masticates  hastily)  Here's  your 
lunch. 

ANNA.    I  don't  want  a  bite.    You  may  eat  it. 

BOB.     I  can? 

ANNA.  (Goes  to  her  desk — sits)  Well,  I  said 
"  you  may  " ,  but  I  guess  you  can,  too. 

BOB.  Oh,  thank  you !  That's  the  third  lunch  I've 
had  to-day!  (Exits) 

RUTH.  (With  intense  feeling)  You  left  home 
this  morning  early  and  got  to  the  office  late.  Where 
did  you  go  from  the  house? 

ANNA.    Out. 

RUTH.  (Sniffing)  I  suppose  you  wouldn't  care 
to  say  to  what  place  ? 

ANNA.     Your  supposition  is  correct. 

RUTH.  I  don't  doubt  you've  been  mixing  in 
Perry's  affairs  again. 

ANNA.     If  I  have  that's  Perry's  affair. 

RUTH.  Well,  I  just  want  to  let  you  understand, 
that  it's  no  use.  Papa  made  us  miss  the  last  train 
to  Baltimore,  but  I'm  more  than  seven  and  if  I  want 
to  marry  Perry  Carlyle  I'm  going  to. 

ANNA.  Perhaps  you'd  better  tell  him  about  that. 
It  really  doesn't  interest  me.  (She  crosses  to  her 
desk,  picks  up  a  pair  of  gloves  lying  there,  opens 
the  desk  and  drops  them  inside) 


THE  LITTLE  GRAY  LADY  77 

RUTH.  I  only  wish  it  didn't  interest — (Stops 
short  upon  seeing  what  ANNA  has  done)  Isn't  your 
desk  locked? 

ANNA.    Certainly  not.    Why? 

RUTH.  Haven't  you  heard?  Everyone  else's  is. 
They're  to  be  searched  after  a  while. 

ANNA.    Oh ! 

RUTH.     I  wonder  why  they  didn't  lock  yours. 

ANNA.  They  probably  thought  they  had.  Some 
times  the  key  turns  without  locking  the  desk. 

RUTH.  Oh!  I  thought  maybe  Mr.  Meade  was 
showing  his  partiality  for  you! 

ANNA.    Of  course,  you'd  think  that. 

RUTH.  So  would  anybody  else  in  the  office. 
Everyone  knows  about  you  and  Mr.  Meade. 

ANNA.  Don't  be  silly,  Ruth.  (She  occupies  her 
self  at  the  desk.  Enter  CARLYLE  from  R.) 

RUTH.     (To  CARLYLE)     You  didn't  wait  for  me. 

CARLYLE.  (Curtly)  No.  Miss  Wadleigh  asked 
for  you.  She  wants  you  to  help  her  with  the  cups. 

RUTH.  Bother !  I  don't  want  to  work.  I  should 
think  she'd  be  satisfied  with  Mr.  Upton.  He's  old 
woman  enough,  goodness  knows.  (Exit  R.  in  cloak 
room) 

CARLYLE.  (His  manner  changes  to  one  of  alert 
ness.  He  glances  about  to  make  sure  that  they  are 
alone.  Goes  to  ANNA)  Did  you  get  it? 

ANNA.  No.  The  ticket  agent  you  mentioned 
wasn't  on  duty.  He  hasn't  come  back  yet.  I  tele 
phoned  a  moment  ago.  (Rises  and  goes  L.  with 
him)  It  was  the  B.  &  O. — you're  sure"? 

CARLYLE.  Of  course,  I'm  sure.  The  ticket 
agent's  a  chap  named  Jones.  Graham  introduced 
him  to  me  once — that's  why  he  was  willing  to  take 
the  bill.  It  must  have  been  in  that  office. 

ANNA.    It  wasn't  in  the  drawer  or  in  the  safe. 

CARLYLE.  ^Ten  to  one  it's  here  now.     I'm  gone! 

ANNA.    Why  did  you  use  it? 


;3  THE  LITTLE  GRAY  LADY 

CARLYLE.  Why  did  I  take  it?  Why  have  I  done 
any  one  of  the  dozen  foolish  things  I've  done  in 
the  past  six  months?  Last  night  I'd  been  drinking 
too  much  to  think  clearly.  My  only  desire  was 
to  get  away  before  Jordan  came.  I  had  to  pay  the 
cabman  and  get  tickets  to  Baltimore  and  I  had  to  do 
it  quick. 

ANNA.  (Gives  him  money)  Here's  the  fifty 
dollars  you  borrowed  from  Mr.  Graham  this  morn 
ing. 

CARLYLE.  And  your  fifty?  (She  shows  it  to 
him)  You  can  pay  your  brother's  tuition  now,  as 
you  expected.  I'm  almost  glad  you  couldn't  get  the 
bill  back. 

ANNA.    But  you? 

CARLYLE.  Oh,  well,  I've  learned  a  lesson.  I'll 
have  to  pay  for  my  tuition,  too. 

(RUTH  enters.    Seeing  that  CARLYLE  and  ANNA  are 
talking  earnestly  she  remains  still.) 

ANNA.  Don't  say  that.  We  haven't  lost  yet, 
and — (Questioningly)  if  we  do  pull  through 

CARLYLE.  I'll  never  take  anything  that  doesn't 
belong  to  me  again.  Never !  As  God  is  my  judge ! 

(The  light  of  comprehension  shows  in  RUTH'S  face. 
She  steps  noiselessly  into  the  doorway  behind 
her.) 

ANNA.  I  believe  you!  (She  starts  to  return  to 
her  desk.  CARLYLE  draws  her  back) 

CARLYLE.  Do  you  know  what  hurts  as  bad  as  any 
thing  else? 

ANNA.    What? 

CARLYLE.  The  recollection  of  what  I  said  to  you 
last  night. 

ANNA.     (Brokenly)     Don't — don't  speak  of  it. 


THE  LITTLE  GRAY  LADY  79 

CARLYLE.  I've  been  a  fool  all  along.  My  worst 
folly  has  been  not  appreciating  you.  If  it  weren't 
too  late 

ANNA.    Is  it  ever  too  late  to  mend? 

CARLYLE.  I  hope  not.  I  didn't  mean  that.  But 
I — I've  given  my  word  to  Ruth  and  you  are  plighted 
to  Sam  Meade. 

ANNA.    Ah,  you  mustn't 

CARLYLE.  Once  I  spoke  of  you  as  the  little  gray 
lady.  You're  not  that,  Anna.  I'll  tell  you  what  you 
are.  The  little  gold  lady.  (He  takes  her  hand  and 
kisses  it)  The  little  gold  lady. 

RUTH.  (Stepping  forth  and  making  herself 
heard)  I  hope  I  don't  intrude. 

ANNA.    Certainly  not. 

RUTH.  I'm  glad,  for  I  intend  to  stay.  Anna,  I 
want  to  ask  you  a  question. 

ANNA.    Yes. 

RUTH.  Just  one,  and  I  ask  it  of  you,  because  I 
want  the  truth.  What  did  Perry  mean  just  now 
when  he  swore  to  you  that  he'd  never  take  anything 
that  didn't  belong  to  him  again  ? 

CARLYLE.     Ruth,  that  isn't 

RUTH.  What  did  he  mean?  I  insist  on  knowing. 
Did  he  mean  that  it  was  he  who  took  the  money 
that  disappeared  yesterday? 

ANNA.    You  have  no  right  to  ask  that  question. 

RUTH.    I  have  all  the  right  in  the  world.    I 

CARLYLE.  I'll  answer  your  question,  Ruth.  I  did 
mean  that. 

(There  is  a  dead  silence.) 

ANNA.  (Rises)  Perhaps  /  intrude  now.  (There 
is  no  reply.  She  zvalks  to  the  door;  then  returns 
to  RUTH  R. — does  not  speak  till  she  reaches  RUTH'S 
side)  We  all  make  mistakes,  Ruth.  We  all — 
(Chilled  at  their  silence  she  turns  to  door  R.)  I'll 


8o  THE  LITTLE  GRAY  LADY 

leave  you  alone  to  talk  things  over.  (Exits  in  cloak 
room) 

RUTH.     (Advances  a  step)     So  you're  a  thief! 

CARLYLE.    Ruth ! 

RUTH.  A  thief !  But  for  papa  I'd  have  been  the 
wife  of  a  thief ! 

CARLYLE.  I  intended  to  return  the  money.  On 
my  honor,  I  did ! 

RUTH.     Your  honor!     That's  good! 

CARLYLE.    Ruth !    Don't  be  so  hard  on  me ! 

RUTH.  Hard  on  you!  It  doesn't  occur  to  you  to 
think  of  me ! 

CARLYLE.     Of  you? 

RUTH.  Yes,  of  me!  Can't  you  see  that  you 
dragged  me  into  the  mire  with  you?  I  was  your 
sweetheart.  Every  tattler  in  town  will  link  my  name 
with  yours. 

CARLYLE.    Nonsense ! 

RUTH.  It's  not  nonsense !  You  know  Washing 
ton — a  big  village !  How  much  reputation  will  I 
have  left  when  the  newspapers  get  through  with  me  ? 

CARLYLE.    (Bitterly)    Not  one  thought  of  me ? 

RUTH.  You're  not  in  any  trouble  yet  and  you 
mustn't  be.  Does  anyone  suspect  you? 

CARLYLE.  I  don't  know.  The  bill  was  marked 
somehow  and  I  spent  it.  I'm  afraid  it  can  be  traced 
back  to  me. 

RUTH.  Thank  heaven,  it  isn't  as  bad  as  it  might 
be.  We're  not  married. 

CARLYLE.    Then  you  don't  love  me? 

RUTH.  Love  you?  Love  a  thief?  Are  you 
crazy  ? 

CARLYLE.    No.    I  have  been. 

RUTH.     (Goes  to  him)     Listen  to  me — — 

CARLYLE.  You  listen  to  me !  I  have  been  crazy ! 
I  trusted  you!  I  loved  you.  I  spent  my  last 
dollar  for  you  and  when  more  was  needed  I  stole 
for  you ! 


THE  LITTLE  GRAY  LADY  Si 

RUTH.    That's  right!    Accuse  me! 

CARLYLE.  I  don't  accuse  you.  I  only  blame  my 
self.  I  blame  myself  for  having  been  so  blind  that 
it  took  a  thing  like  this  to  open  my  eyes. 

RUTH.    The  Lord  knows  my  eyes  are  opened. 

CARLYLE.  You  needn't  worry.  I'm  sane  enough 
now  to  be  glad  of  my  liberty  as  you  will  be  of 
yours.  I'm  sane  enough  to  thank  you  with  all  my 
heart  for  my  freedom.  Your  name  won't  be  men 
tioned  in  this  affair.  Your  skirts  are  clean  and 
your  road  is  clear.  It  lies  through  that  door. 
You're  done  with  me  and  I'm  done  \vith  you. 

RUTH.  That's  easily  said.  I've  got  to  get  you 
out  of  this  or  fall  with  you. 

CARLYLE.  You  can't  get  me  out !  (Plunges  his 
hands  in  his  coat  pockets)  God!  (Brings  out 
pieces  of  bill)  Now  I  am  done  for ! 

RUTH.    What  are  those? 

CARLYLE.  Pieces  of  bills  I  took  away.  If  they 
find  these  on  me 

RUTH.  On  you !  Why  should  they  be  found  on 
you?  Why  not  hide  them?  Here!  (She  takes  the 
bits  of  paper  from  him) 

CARLYLE.    Your  skirts  are  clean.    You'd  better  go. 

RUTH.  Wre  must  get  rid  of  them,  but  where — 
where?  (Enter  MEADE  at  L.  RUTH  hastily  closes 
her  hands  on  the  bills)  Look  out! 

MEADE.    Mr.  Carlyle,  you're  wanted  upstairs. 

CARLYLE.    Wanted ! 

RUTH.     (Simultaneously)     Upstairs! 

MEADE.    Yes ;  will  you  come  \vith  me,  please  ? 

CARLYLE.  (Pulling  himself  together)  Oh!  Of 
course !  I — I'll  see  you  later,  Miss  Jordan. 

(Exeunt  MEADE  and  CARLYLE.  There  is  a  burst  of 
laughter  from  room  R.  A  street  piano  outside 
begins  playing.  RUTH  folloivs  CARLYLE  to  the 
door  L.  She  looks  after  him  a  moment.) 


82  THE  LITTLE  GRAY  LADY 

RUTH.  Will  he  come  back  or — do  they  know? 
The  fool !  (She  returns  to  center.  Opens  her  hand 
and  looks  at  bills.  She  is  asking  herself  where  to 
put  them.  Her  eye  falls  on  the  papers  lying  on 
ANNA'S  desk.  Their  presence  reminds  her  that  the 
desk  is  open.  She  starts  toward  it,  then  hesitates, 
and  stops.  She  is  arguing  with  herself)  It's  the 
only  way !  I  must  think  of  myself !  (She  looks 
around  quickly.  Then  she  opens  the  desk,  flings  in 
the  bills  and  closes  it)  Locked !  (She  wipes  her 
face  with  her  palm  as  though  to  brush  away,  the 
vision  of  what  has  happened.  The  other  hand 
clenches  the  desk.  The  street  piano  ceases  to  play) 
Oh,  my  God! 

(Enter  ANNA  R.    There  is  heard  the  sound  of  clatter 
and  laughter  as  the  door  opens.) 

ANNA.  (Going  to  her)  Ruth!  What's  the 
matter?  Are  you  ill? 

RUTH.  (Dissembling)  Perry — they  sent  for 
him — upstairs. 

ANNA.     You  don't  mean  he's  been  arrested? 

RUTH.    I'm  afraid  so. 

ANNA.     Who  came  for  him? 

RUTH.     Mr.  Meade. 

ANNA.  Then  they  suspect !  Could  anyone  have 
overheard  Perry  talking  to  you? 

RUTH.     No. 

ANNA.  The  bill  must  have  turned  up.  (She  has 
been  musing.  Suddenly  she  becomes  alert)  We 
must  do  something  and  do  it  quickly. 

RUTH.     What  can  we  do? 

ANNA.    Just  one  thing:  get  him  away. 

RUTH.     There's  no  time!     It  can't  be  done! 

ANNA.  It  must  be  done.  It  isn't  a  separation  I'm 
planning.  When  Perry's  safe  you  can  go  to  him. 

RUTH.  Go  to  him!  Humph!  I  never  want  to 
see  his  face  again. 


THE  LITTLE  GRAY  LADY  83 

ANNA.     Ruth!     You  don't  mean  that? 

RUTH.  I  mean  it  with  all  my  heart.  I've  told  him 
so.  What  did  you  expect  of  me?  The  man's  a 
thief.  He  can  do  what  he  pleases.  I'm  through  with 
him. 

ANNA.    Then  I  was  right.     You  never  loved  him ! 

RUTH.     I  did  once. 

ANNA.  Ah,  no,  no !  Love — real  love  isn't  like 
that! 

RUTH.  (With  intense  bitterness)  Meaning,  I 
suppose,  that  you  love  Perry? 

ANNA.    Meaning  just  that. 

RUTH.  All  right.  You're  welcome  to  him.  I 
give  him  back  to  you.  Take  him  and  save  him. 
(Enter  CARLYLE.  RUTH  exits  R.) 

ANNA.  Perry!  Do  they  know?  Quick ;  tell  me, 
are  you  still  free? 

CARLYLE.     Yes,  the  Lord  knows   for  how  long. 

ANNA.     Who  questioned  you? 

CARLYLE.  Meade.  He's  got  a  package  of  bills  or 
something  by  which  to  tell  the  stolen  note  when  he 
gets  it.  I  may  be  arrested  any  minute. 

ANNA.     No !    No !    I've  a  plan. 

CARLYLE.  It's  useless,  Anna.  You  can't  help 
me.  You'd  better  give  up  trying. 

ANNA.  I  won't  give  up  and  you  shan't  either. 
We  can't  keep  the  truth  to  ourselves  much  longer. 
If  you're  here  when  that  bill  turns  up  you'll  be 
arrested.  You  must  get  out  of  town  and  at  once. 

CARLYLE.    They'd  telegraph  after  me. 

ANNA.  You  must  get  out  of  the  country.  When 
does  the  next  boat  sail  for  Venezuela? 

CARLYLE.  (More  hopefully)  To-morrow  morn 
ing. 

ANNA.    To-morrow?    You're  sure? 

CARLYLE.    Graham  told  me  so  yesterday. 

ANNA.  Luck's  with  us.  You  have  fifty  dollars 
in  your  pocket.  Don't  stop  to  pack  your  things. 


84  THE  LITTLE  GRAY  LADY 

Don't  go  near  your  house.  There  must  be  a  train 
to  New  York  within  an  hour.  Take  it  and  to 
morrow  you'll  be  safe. 

CARLYLE.    And  Graham? 

ANNA.  At  the  Pension  Office.  Get  him  on  your 
way  to  the  station.  Tell  him  you've  decided  to 
accept  his  offer.  Don't  let  anyone  stop  you.  There's 
no  time  to  think  about  it.  Go  !  Go  ! 

CARLYLE.    I  will.     (Goes  to  door) 

ANNA.     Hurry ! 

CARLYLE.  (Stops  short  and  turns  around)  Wait ! 
What  about  you? 

ANNA.    About  me?    What  do  you  mean? 

CARLYLE.  They'll  find  you  got  me  away.  What 
will  happen  to  you  ? 

ANNA.     That  doesn't  matter  to  me. 

CARLYLE.  It  matters  to  me.  If  my  trouble  is  to 
fall  on  your  shoulders — I  won't  go. 

ANNA.     Not  to  save  yourself  from  prison? 

CARLYLE.    Not  to  save  myself  from  Hell ! 

ANNA.  (Exultantly)  I  knew  you  were  that 
sort.  I'll  be  all  right.  When  you're  beyond  reach, 
I'll  find  some  way  of  explaining  things.  (The  door 
at  L.  opens.  MEADE  looks  in  and  closes  it  again. 
ANNA  frozen  zvith  horror)  Do  you  see?  You're 
practically  a  prisoner  now.  If  you're  to  get  away 
you  must  hurry. 

CARLYLE.     I  can't  do  it.     (Sits) 

ANNA.  (Trying  to  get  him  to  his  feet)  I  tell 
you  I'll  clear  myself.  This  is  your  opportunity  to 
get  a  fresh  start.  You've  got  to  take  it. 

CARLYLE.  What's  the  use?  My  behavior  has 
already  cost  me  everything  I  care  for.  While  I  was 
fancying  myself  in  love  with  Ruth  I  lost  you.  Now 
she  releases  me  and  you  are  promised  to  Meade. 

ANNA.    No !    No !    I'm  not. 

CARLYLE.  (Starting  up)  But  you  said  last 
night 


THE  LITTLE  GRAY  LADY  85 

ANNA.  What  I  said  was  said  to  induce  Ruth  to 
keep  you  in  that  room.  Love  doesn't  shift  and 
turn,  Perry,  even  though  we  sometimes  think  it  does. 
You  and  I  were  boy  and  girl  playmates.  I've  always 
trusted  and  believed  in  you.  Perry,  what  you  said 
through  the  closet  door  was  true — I  love  you ! 

CARLYLE.  (Takes  her  hand)  God  bless  you!  I 
love  you,  too,  and  I  can't  leave  you  where  there's  a 
chance  of  trouble  for  you. 

ANNA.  Ail  the  trouble  there  is  for  me,  you're 
making.  Can't  you  understand  that  by  staying  you 
only  make  me  wretched !  Your  trouble  is  my 
trouble  now.  If  you  were  sent  to  prison,  it  would 
break  my  heart.  If  you  care  anything  for  me,  you'll 
take  this  chance  to  show  me  that  you  can  be  big  and 
fine  and  square.  Will  you  do  that  ?  Will  you  go  ? 

CARLYLE.  Yes.  I'll  go  for  your  sake  and  prove 
myself  a  man!  (Kisses  her  hand  and  makes  quick 
exit  at  R.) 

(ANNA  conies  down  stage  wearily  and  sinks  in  chair 
c.  zt'ith  head  on  hands.) 

MEADE.  (Enter  at  back.  He  looks  at  ANNA,  then 
goes  to  door  R.  and  glances  off  to  satisfy  himself 
that  CARLYLE  is  there.  Comes  down-stage  fingering 
a  bunch  of  keys)  You  look  worn  out. 

ANNA.  I  am — very  tired.  I  shan't  stay  this 
afternoon. 

MEADE.  I  wouldn't  if  I  was  you.  (Turns  up 
stage,  keeping  his  eye  on  CARLYLE.  ANNA,  obviously 
nervous,  speaks  with  the  purpose  of  attracting  his 
attention) 

ANNA.    Oh,  Mr.  Meade. 

MEADE.     (Turning  dozvn)     Yes? 

ANNA.     How — how  is  your  case  going? 

MEADE.  (Sits)  I  could  put  my  hand  on  the  man 
that  made  that  bill. 


86  THE  LITTLE  GRAY  LADY 

ANNA.     Have  you  arrested  him? 

MEADE.  No ;  but  I  will  though,  before  the  lunch 
hour  is  over. 

ANNA.    You're  as  sure  as  that? 

MEADE.  Dead  sure.  (Takes  roll  of  bills  from 
his  pocket)  Here  is  the  evidence  that's  going  to  put 
one  thief  in  the  penitentiary. 

ANNA.    Those  bills? 

MEADE.  That's  it.  Through  them  I'm  going  to 
identify  that  hundred  dollar  note  when  it  comes  in. 
(Returns  roll  to  pocket) 

ANNA.  Through  those !  Do  you  mean  to  say 
that  if  it  weren't  for  those  bills  you  couldn't  identify 
the  note?  If  you  lost  them,  you'd  lose  your  man?  " 

MEADE.  I'd  have  to  begin  on  a  new  track.  It 
would  take  me  a  week  or  so  to  get  started  again. 

ANNA.  (Holding  out  her  hand)  Let  me  see 
those  remarkable  bills. 

MEADE.  (Shows  them  to  her  without  letting 
them  go  out  of  his  hands)  Just  ordinary  mutilated 
money. 

ANNA.     Let  me  look  at  it. 

MEADE.  (Withdrawing  bills  from  her  grasp  and 
returning  same  to  pocket)  It's  just  like  any  other 
torn  money. 

ANNA.  (With  a  movement  of  vexation}  Then, 
how  will  it  enable  you  to  identifv  that  hundred  dol 
lars? 

MEADE.  By  a  mark  that  corresponds  with  one 
on  the  yellow  back. 

ANNA.    What  is  the  mark? 

MEADE.    I  can't  tell  you. 

ANNA.    Not  even  me? 

MEADE.    Not  even  you. 

ANNA.    Yet  you  say  you're  fond  of  me. 

MEADE.  Love  ain't  business.  (Rises — facing 
front) 

at  the  Treasury. 


THE  LITTLE  GRAY  LADY  87 

(CARLYLE  enters  door  R.  and  exits  door  c.  ANNA 
in  agony  that  MEADE  will  see  him,  shows  her 
fear.) 

ANNA.     Love  is  trust.    You  don't  trust  me. 

MEADE.  Why,  yes,  I  do.  Here — (Takes  up 
piece  of  paper  from  desk)  See  this? 

ANNA.    Yes. 

MEADE.  I  tear  this  piece  out  of  it.  Now  we  might 
have  a  thousand  other  bits  of  paper,  but  that  would 
always  be  the  only  piece  that  would  fit.  No  two 
tears  are  ever  alike. 

ANNA.     I  understand. 

MEADE.  When  the  extra  hundred  comes  in — as 
it's  sure  to  do — I  take  it  to  pieces.  If  the  parts  fit, 
the  bill  is  identified.  See? 

ANNA.  Then  just  that  little  roll  of  money  is  the 
key  that  will  lock  some  man  in  prison  ? 

MEADE.     That's  it!     Pretty  good  scheme,  eh? 

ANNA.  It  seems  to  me  that  your  chain  of  evidence 
is  slight. 

MEADE.  Slight  for  a  jury,  maybe.  It'll  put  us 
next,  though,  and  when  I'm  sure  of  my  man,  I'll 
find  ways  enough  to  make  the  jury  sure. 

ANNA.  So  long  as  you  have  these  notes,  he  can't 
escape  you? 

MEADE.  Not  if  he's  still  alive  and  in  America! 
Escape  !  Huh !  I'll  have  the  maker  of  that  hundred 
dollar  bill  inside  of  twenty-four  hours !  (ANNA 
snatches  the  bills  from  his  hand  and  begins  tearing 
them  to  bits.  He  seizes  her  arm.  There  is  almost 
a  struggle)  Here,  what  are  you  doing? 

ANNA.    I  can't  let  you  catch  that  man. 

MEADE.  But  you've  done  for  me.  You  ruined 
me.  No,  by  God !  You've  given  the  thief  into  my 
hands.  I  suspected  him  before;  I'm  sure  of  him 
now !  The  only  man  you'd  do  that  for  is  the  man 
you  love — and  that  man  is  Perriton  Carlyle.  I  said 


88  THE  LITTLE  GRAY  LADY 

I'd  have  him  in  twenty-four  hours ;  I'll  have  him  in 
twenty- four  minutes,  and  you  gave  him  to  me.  (He 
starts  to  go  up  tozvard  c.  door;  ANNA  clings  to  his 
arm  violently) 

ANNA.  I !  Oh,  no,  no,  no.  You're  wrong. 
(With  an  inspiration)  You're  wrong.  I  tore  those 
bills  to  save  myself  !  I ' 

MEADE.     Do  you  think  I'm  a  fool? 

ANNA.  I  tore  those  bills  to  save  myself,  but  I 
can't  do  it  at  his  expense.  Oh,  wait!  Wait  a 
moment !  Let  me  explain  to  you.  You're  going  to 
make  an  awful  mistake !  You're  going  to  arrest  an 
innocent  man. 

MEADE.  I'll  take  my  chances  on  that.  Let  go  of 
me. 

(In  the  struggle  they  have  struck  violently  against 
the  desk.  The  drawer  is  so  arranged  that  the 
Mow  opens  it  a  little.  ANNA  sees  the 
pieces  of  bill  inside;  MEADE  also  sees  them — 
both  gaze  at  them — a  breathless  pause.  Then 
ANNA  grabs  up  the  bits  of  money  with  an 
inspiration.) 

ANNA.  Wait !  Here  are  your  proofs !  Look 
here !  Pieces  of  money  in  my  desk.  Now,  are  you 
convinced?  Now,  will  you  believe  that  I'm  the 
thief  you're  after? 

MEADE.     (Violently)     No!     No! 

ANNA.  You've  got  to  believe  it.  Here  are  the 
pieces  and  here  I  am  confessing  myself  to  be  a  thief  ! 
(The  gong  rings  loudly.)  The  lunch  hour  is  over! 
The  people  are  coming  back.  If  you  take  another 
step  after  an  innocent  man,  I'll  tell  them  all  what 
I've  told  you.  I'll  tell  them  that  you're  making 
Perry  Carlyle  a  cloak  to  shield  me  because  you  love 
me !  You  know  they'll  believe  me !  You  know  your 


THE  LITTLE  GRAY  LADY  89 

own  chief  will  believe  me !  They're  coming !  You 
haven't  a  minute  to  make  up  your  mind !  I  say  I'm 
the  thief!  You've  got  to  believe  me!  You've  got 
to  !  You've  got  to !  You've  got  to  !  (Pounding 
desk  with  hands  hysterically) 

Quick  curtain 


90  THE  LITTLE  GRAY  LADY 


ACT  IV 

SCENE:  The  same  as  ACT  I.  It  is  October,  how 
ever,  and  the  trees,  instead  of  being  covered 
with  leaves,  are  nearly  bare.  The  passage  of 
the  months  that  have  intervened  since  first  the 
"  back  yard  "  was  disclosed  is  evident  in  number 
less  details.  The  hour  is  shortly  after  9  A.  M. 

DISCOVERED:  MRS.  GRAHAM  is  discovered  lying  in 
the  hammock.  From  across  the  fence  drift  the 
familiar  tones  of  the  flute,  playing  "  I'd  Leave 
My  Happy  Home  For  You  ".  After  a  moment, 
MRS.  JORDAN  enters  L. 

MRS.  JORDAN.  (On  porch)  Listening  to  the 
music  ? 

MRS.  GRAHAM.  (Assuming  a  sitting  posture) 
I  wonder  to  which  of  us  he  intends  to  convey  that 
information. 

MRS.  JORDAN.     Information? 

MRS.  GRAHAM.    That  he'd  leave  his  happy  home. 

MRS.  JORDAN.  Oh!  (Sits  on  steps  and  shells 
peas)  Seems  nice  not  to  have  to  go  to  work,  don't 
it? 

MRS.  GRAHAM.  Very.  I  wish  a  politician  died 
every  day. 

(The  flute  solo  ceases.) 

MRS.  JORDAN.  I  reckon  everybody  here  needs  the 
rest.  Miss  Gray's  got  a  bad  headache  and  Ruth 
came  home  about  sick  last  night. 

MRS.  GRAHAM.    It's  warm  weather  for  October. 

MRS.  JORDAN.  I  don't  think  the  weather's  got 
anything  to  do  with  it.  I  believe  there's  been  trouble 


THE  LITTLE  GRAY  LADY  91 

MRS.  GRAHAM.    Trouble?    What  kind  of  trouble? 
MRS.    JORDAN.      I    don't    know.      Only — (MRS. 
GRAHAM  joins  her)     Mr.  Carlyle's  gone  to  Ven 
ezuela. 

MRS.  GRAHAM.  Yes.  To  manage  Mr.  Graham's 
plantation. 

MRS.  JORDAN.  So  Mr.  Graham  says.  But  it's 
mighty  sudden. 

MRS.  GRAHAM.  Why,  no,  it  isn't!  Mr.  Graham's 
been  urging  him  for  months. 

MRS.  JORDAN.  He  went  without  a  word  to  any 
body. 

MRS.  GRAHAM.  Did  you  expect  him  to  say  good 
bye  to  you  after  that  scene  the  night  before  last  at 
the  depot? 

MRS.  JORDAN.  Well,  Ruth  says  she's  through  with 
him,  and  that's  a  blessing! 

MRS.  GRAHAM.    He  certainly  was  good  to  Ruth. 
MRS.    JORDAN.     Yes.      He   was   liberal    enough. 
Only  last  Friday  he  gave  her  a  beautiful  picture  of 
a  naked  lady  standing  on  the  moon.    (MRS.  GRAHAM 
laugJis.     MRS.   JORDAN   calls)     Bob!        Oh,   Bob! 
(To  MRS.  GRAHAM)     It  was  sent  to  be  framed. 
MRS.  GRAHAM.     I  think  I  know  the  picture. 
MRS.  JORDAN.     Of  course,  the  lady's  vulgar,  but 
the  moon  is  lovely!     (Rises  and  goes  to  c.     Calls) 
Bob! 

(Enter  BOB,  his  head  appearing  atop  the  fence) 

BOB.    Yes'm. 

MRS.  JORDAN.  Bob,  will  you  go  down  to  Veerhof  s 
and  get  a  picture  that's  there  for  Miss  Jordan. 

BOB.    Yes'm. 

MRS.  JORDAN.    That's  a  good  boy. 

BOB.    Yes'm.     (Exit) 

MRS.  GRAHAM.  (Returning  to  the  hammock) 
Why  should  Ruth  be  through  with  Mr.  Carlyle? 


92  THE  LITTLE  GRAY  LADY 

MRS.  JORDAN.  (Returning  to  the  peas)  It's  my 
opinion  that  the  man  had  her  hypnotized.  When 
he  went  away  she  came  to  her  senses  again.  Say, 
Miss  Carruth. 

MRS.  GRAHAM.    Yes. 

MRS.  JORDAN.  When  you  get  to  Venezuela,  why 
don't  you  marry  Mr.  Carlyle? 

MRS.  GRAHAM.  Why  don't  I  marry  Mr.  Carlyle? 
Because — (Laughs)  Haven't  you  given  up  that 
idea  yet  ? 

MRS.  JORDAN.  No,  indeed.  I  think  he'd  be  an 
elegant  match  for  you.  Then  Ruth  and  Mr. 
Graham 

MRS.  GRAHAM.  Ruth  and  Mr.  Graham!  Dick — 
get  married — to  Ruth? 

MRS.  JORDAN.  I  didn't  believe  there  was  any 
thing  really  serious  between  you  and  Mr.  Graham — 
and  so — and  so 

MRS.  GRAHAM.    And  so? 

MRS.  JORDAN.  Well,  I  thought  you  might  use 
your  influence  with  Mr.  Graham. 

MRS.  GRAHAM.  (With  emphasis)  Use  my  in 
fluence  to  make  Mr.  Graham  marry  Ruth?  That's 
too  funny !  (Laughs  sarcastically) 

MRS.  JORDAN.  (Gathering  the  peas  in  her  pan) 
You  needn't  laugh.  Mr.  Graham's  been  paying  her 
a  great  deal  of  attention  recently. 

MRS.  GRAHAM.  (Stops  laughing  and  rises 
angrily)  What? 

MRS.  JORDAN.  (Walks  up  steps)  Yes.  You 
ought  to  a-seen  them  together  last  night.  (Enter 
GRAHAM  at  L.,  jauntily)  Here  he  is  now. 

GRAHAM.    Hello!    You  all  look  happy. 

MRS.  GRAHAM.  We  are.  Mrs.  Jordan's  been 
telling  me  how  fond  you  are  of  Ruth. 

MRS.  JORDAN.  I  didn't  say  "  fond  ".  Still  you 
are  fond  of  the  child,  aren't  you,  Mr.  Graham? 


THE  LITTLE  GRAY  LADY  93 

(He  nods  violently)  I  knew  it!  (Exit  MRS. 
JORDAN  in  house) 

GRAHAM.  Damn  Ruth !  (Putting  his  arm  around 
MRS.  GRAHAM)  You're  not  going  to  let  that 
dragon's  gossip  make  you  angry  again? 

MRS.  GRAHAM.  (Gradually  giving  way  and 
presenting  her  lips  to  be  kissed)  No-o-o! 

(He  is  about  to  kiss  her.    Enter  BOB,  his  head  visible 
as  before.) 

BOB.    Mrs.  Jordan  here? 

GRAHAM.  (Hastily  leaving  MRS.  GRAHAM)  No. 
What  do  you  want? 

BOB.     Nothin' !     (Exit  BOB) 

MR.  GRAHAM.  You'll  admit  it's  annoying  to  be 
asked  if  you'll  influence  your  husband  to  marry 
another  woman. 

GRAHAM.  Did  she  ask  you  that?  (MRS. 
GRAHAM  nods)  The  Mormon! 

MRS.  GRAHAM.  You  haven't  heard  from  that 
lawyer  ? 

GRAHAM.  Mr.  Carr?  I'm  expecting  good  news 
every  minute.  Guess  what  I  did  yesterday. 

MRS.  GRAHAM.    I  can't. 

GRAHAM.  Stole  the  marriage  certificate  out  of 
your  drawer  and  took  it  to  be  framed.  We'll  hang 
it  in  our  stateroom  on  the  boat. 

MRS.  GRAHAM.  Oh,  Dick!  You  dear!  (Em 
braces  him) 

(Enter    MEADE    and    JORDAN    from    the    house. 
MEADE  signals  their  presence  by  coughing.) 

GRAHAM.  (Looking  over  MRS.  GRAHAM'S 
shoulder)  Never  mind,  Mr.  Meade.  We're  going 
to  have  this  one  if  it  provokes  a  riot. 

MEADE.  I  didn't  go  to  butt  in.  Miss  Gray  sent 
word  to  wait  here. 

JORDAN.    Miss  Carruth  doesn't  mind  me. 


94  THE  LITTLE  GRAY  LADY 

MRS.  GRAHAM.  (Clinging  to  GRAHAM)  No, 
I'm  getting  to  a  point  where  I  don't  mind  anybody. 

JORDAN.  I  wish  I  could  corner  love.  I  could 
make  something  out  of  that. 

GRAHAM.     I  think  you  have. 

JORDAN.  (To  MEADE)  Sam,  you  remember  my 
bill  for  survivors  of  the  Custer  Massacre? 

MEADE.  (Moodily)  You  were  talking  about  it 
the  other  day. 

JORDAN.  (Dejectedly.  Throwing  wide  his  arm) 
Busted ! 

MEADE.    That  so? 

JORDAN.    Yes.    There  weren't  no  survivors. 

GRAHAM.  I  never  knew  before  how  cruel  those 
Indians  were. 

JORDAN.  So  there's  a  great  big  home  planned  with 
nobody  to  fill  it.  I  wonder  if  any  Mexican  war 
veterans  are  alive. 

MRS.  GRAHAM.  (Laughing)  I'm  afraid  not. 
Why  don't  you  get  the  encyclopedia  and  find  out. 

JORDAN.  Thanks.  I  will.  (Goes  to  steps) 
There  ought  to  be  some  money  in  Mexican  war 
veterans.  (Enter  ANNA  from  house.  JORDAN 
bows  and  exits) 

MRS.  GRAHAM.  (To  ANNA)  Hello.  How's 
your  headache  ? 

ANNA.     (Wearily)     Better. 

MRS.  GRAHAM.   "You  look  pretty  bad. 

MEADE.  (To  ANNA)  Good-morning.  (To  the 
others)  I  want  to  talk  to  Miss  Gray. 

MRS.  GRAHAM.  (Starting  up  steps)  Oh,  I  beg 
your  pardon. 

GRAHAM.    And  I. 

ANNA.  (To  GRAHAM)  Do  you  mind  waiting 
a  moment,  Mr.  Graham?  You'll  excuse  him,  won't 
you,  Miss  Car  ruth? 

MRS.  GRAHAM.  Certainly.  (To  GRAHAM)  I'll 
wait  for  you  on  the  front  steps.  (Exits) 


THE  LITTLE  GRAY  LADY  95 

GRAHAM.    (To  ANNA)    Now  I'm  at  your  service. 

MEADE.  (To  ANNA — remonstratingly)  But — 
but  I've  got  something  to  say  that  concerns  you. 

ANNA.  What  I  have  to  say  concerns  both  of  you. 
(To  GRAHAM)  A  hundred  dollar  bill  was  taken 
from  the  Treasury.  (To  MEADE)  Mr.  Carlyle 
sailed  from  New  York  this  morning  for  Venezuela. 
(To  both)  Mr.  Carlyle  took  the  bill. 

(MEADE  turns  up-stage  moodily.) 

GRAHAM.  I  knew  he'd  gone — I  guessed  the 
reason  why. 

ANNA.  (To  GRAHAM)  He  wanted  you  to  know 
what  he  had  done  before  he  began  working  for  you. 

GRAHAM.  I  don't  care  what  he's  done;  I  believe 
in  whaf  he  is  goin^  to  do. 

ANNA.    And  so?  !^ 

GRAHAM.  I  shall  cable  him  to  report  for  duty. 
Is  that  all? 

ANNA.  (Much  moved)  That  is  all — except — 
thank  you. 

GRAHAM.  Then  I  yield  the  floor  to  Mr.  Meade. 
(E.rit  in  house) 

ANNA.    Well? 

MEADE.    Well,  I  was  sent  here  to  arrest  you. 

ANNA.     But  you  know  I  didn't  make  that  bill. 

MEADE.  You  say  now  you  didn't;  you  said  last 
night  that  you  did. 

ANNA.  Oh,  but  I  said  that  to  give  Perry  time 
enough  to  get  away. 

MEADE.  All  right.  Maybe  you  would  like  to  tell 
that  to  the  chief,  and  be  sent  up  for  aiding  and 
abetting  a  felony. 

ANNA.    Why,  I  never  thought  of  that. 

MEADE.    The  chief  will. 

ANNA.    But  now  you  can  tell  him  I  didn't  do  it. 

MEADE.  Well,  if  that  ain't  like  a  woman.  What 
I  know  cuts  no  ice  with  the  chief.  I  can't  say, 


96  THE  LITTLE  GRAY  LADY 

"  This  girl's  not  guilty.    I  love  her  and  that  proves 
it." 

ANNA.    But  you  couldn't  arrest  me. 

MEADE.  I  wouldn't !  Unluckily  I'm  not  the  only 
man  in  the  secret  service. 

ANNA.  No,  but  you  were  the  beginning  of  this.. 
Why  couldn't  you  have  dropped  the  case  ?  Why  did 
you  have  to  track  down  the  man  I  love? 

MEADE.     My  duty.     It  ain't  fair  to  blame  me. 

ANNA.  No,  it  isn't.  I'm  sorry  for  what  I  did 
yesterday,  too.  I  might  have  got  you  into  great 
trouble.  I  had  to  save  Perry  and  there  was  no  other 
way.  You'd  have  done  just  what  I  did  in  the  same 
place. 

MEADE.    I  only  wish  you  loved  me  that  much. 

ANNA.  Now,  what's  to  be  done?  What's  to  be 
done? 

MEADE.  I  don't  know.  You  ought  to've  looked 
before  you  leaped. 

ANNA.  I'd  do  the  same  thing  again,  even  now. 
Only  I  was  thinking  about  my — brother 

MEADE.    The  little  chap,  huh? 

ANNA.    Yes. 

MEADE.    You've  got  to  bring  Carlyle  back. 

ANNA.     No. 

MEADE.  It's  no  good  saying  no.  This  is  serious. 
You're  likely  to  go  up  for  six  or  seven  years. 

ANNA.     Better  I  should  suffer  than  he. 

MEADE.  Well,  I'll  be  damned.  Excuse  me,  but  I 
will. 

ANNA.  See  here.  There's  nothing  to  prove  that 
a  bill  was  ever  made.  Couldn't  you  say  that  none 
was  made? 

MEADE.    Yes — unless  the  bill  turns  up. 

ANNA.     I'd  forgotten  that. 

MEADE.    You'll  have  to  get  the  bill. 

ANNA.     I  can't;  I  tried  yesterday. 

MEADE.    Do  you  know  who  took  it? 


THE  LITTLE  GRAY  LADY  97 

ANNA.    A  ticket  agent  named  Jones  at  the  B.  &  O. 

MEADE.     (Running  to  steps)     Well,  that's  easy! 

ANNA.  Wait ;  I  made  his  assistant  turn  the  office 
upside  down  looking  for  it.  The  note's  gone. 

MEADE.  Of  course;  gone  to  the  B.  &  O.  offices 
in  Baltimore,  and  I'm  going  after  it. 

ANNA.  (Hopeful  again)  Do  you  suppose  you 
can  get  it? 

MEADE.  I  suppose  I  can  try.  (Exit  through 
passage  up  L.) 

(Enter  RUTH  from  house.) 

RUTH.  (Coming  down  steps)  Mr.  Meade 
seems  excited. 

ANNA.     (Coldly;  walks  away)     Yes. 

RUTH.  Yesterday  was  enough  to  excite  anyone. 
Don't  you  think  so? 

(ANNA  crosses  with  apparent  intention  of  going 
in  the  house.) 

ANNA.  Yes.  (Changes  mind  and  halts)  Ruth, 
do  you — do  you  remember  speaking  to  me  yester 
day  about  my  desk  being  unlocked? 

RUTH.     No — yes — I  don't  know. 

ANNA.  Well,  I  know.  I  want  to  thank  you  for 
what  you  did. 

RUTH.    What  I  did?    You  mean 

ANNA.  I  mean  just  what  you're  thinking  about 
now. 

RUTH.     Then  what  are  you  thanking  me   for? 

ANNA.  For  helping  Perry  to  escape  from  arrest — 
and  from  you. 

RUTH.    You  are  angry  because  of  what  I  did  ? 

ANNA.  No,  because  of  what  you  made  Perry 
Carlyle  do. 

RUTH.  I  made  him  do?  He  must  have  been  a 
very  weak  man  if  I  made  him  steal. 


98  THE  LITTLE  GRAY  LADY 

ANNA.  Every  man  in  love  is  weak.  Perry  was 
always  easily  lead.  You  knew  that — yet  you  were 
a  constant  temptation  to  him. 

RUTH.  Well,  he'll  never  be  tempted  by  me  any 
more.  I'll  never  see  his  face  again. 

ANNA.    Thank  you. 

RUTH.  You're  welcome.  (Moderates  her  tone) 
No;  I  can't  be  angry  with  you.  It's  real  nice  of 
you  to  keep  quiet  about  those  pieces  in  your  desk, 
and  I'm  awfully  glad  they  didn't  get  you  into 
trouble.  Shall  we  be  friends? 

ANNA.     (On  steps)     If  you  like. 

RUTH.  I  do  like.  (Runs  to  her  and  kisses  her) 
There !  Now  we  are  friends  again ! 

ANNA.  It's  very  easy,  isn't  it?  (Enter  GRAHAM 
through  gate)  Why,  Mr.  Graham,  I  thought  you 
went  in  the  house? 

GRAHAM.  I  did,  went  out  the  front  door,  made  a 
circuit  of  the  block  and  behold  me.  I'm  too  ex 
pectant  to  sit  still. 

ANNA.  (Somewhat  grimly)  Yes;  so  am  I. 
(Exit  ANNA) 

RUTH.  (Coquettishly)  What  do  you  expect, 
Mr.  Graham? 

GRAHAM.    Oh,  my  laundry — among  other  things. 

RUTH.    Is  that  all? 

GRAHAM.    Isn't  that  enough? 

RUTH.  (Seating  herself  in  hammock  and  draw 
ing  circles  with  the  point  of  her  parasol)  I  thought 
you  might  be  expecting — matrimony. 

GRAHAM.  I?  (Puts  cigar  in  his  mouth)  Non 
sense!  (Searches  his  pockets)  You  don't  happen 
to  have  a  match,  do  you?  (Finds  one)  Never 
mind;  I  have  one. 

RUTH.    Of  the  sort  that  are  made  in  Heaven? 

GRAHAM.  (Drawing  his  head  back  as  the  odor 
of  sulphur  assails  him)  Not  Heaven — judging  by 
the  smell. 


THE  LITTLE  GRAY  LADY  99 

RUTH.  One  is  likely  to  make  mistakes  in  mar 
riage. 

GRAHAM.  There  is  one  man  who  makes  no  mis 
take. 

RUTH.     Who  is  he? 

GRAHAM.  The  man  who  doesn't  marry.  (Lights 
cigar) 

RUTH.  Do  be  serious!  I  came  near  making  a 
dreadful  mistake. 

GRAHAM.    You  don't  say  so! 

RUTH.  I  should  have  married  and  then  have 
found  out  that  my  heart  wasn't  in  my  husband. 

GRAHAM.  Curious  anatomical  mix-up  if  it  were, 
don't  you  think? 

RUTH.  I  see  you  won't  be  serious.  (Leaving  the 
hammock)  Will  you  be  generous? 

GRAHAM.    How? 

RUTH.  I  have  tickets  for  the  theater.  Will  you 
take  me  ? 

GRAHAM.     I  thought  you  went  with  Carlyle. 

(Enter  MRS.  GRAHAM  from  house.    She  stands  in 
doorway,  unseen  by  RUTH.) 

RUTH.    I  want  to  go  again.    Will  you  take  me? 

GRAHAM.    I'm  sorry;  it's  impossible. 

RUTH.     I  can't  see  why.  : 

GRAHAM.  (Pointing)  You  can  if  you  turn 
around. 

MRS.  GRAHAM.  (Crossing)  Mr.  Graham  has 
an  engagement  with  me. 

RUTH.  Oh,  very  well!  (Enter  BOB  at  R.  He 
is  carrying  two  packages.  She  addresses  him)  Ah, 
Bob,  what  have  you? 

BOB.  Pictures  from  Veerhof's.  (Gives  her  one 
picture)  Your  mother  sent  me  for  it. 

RUTH.    And  the  other? 

BOB.  Man  asked  me  to  bring  it  to  Mr.  Graham. 
(Gives  it  to  MR.  GRAHAM) 


ioo  THE  LITTLE  GRAY  LADY 

GRAHAM.  (Gives  it  to  MRS.  GRAHAM.  Address 
ing  her)  Here!  I  told  you  about  this.  (To  BOB) 
Much  obliged,  Bob.  Here's  a  quarter. 

(BOB  puts  coin  in  his  hat.     Enter  MRS.  JORDAN 
from  house  with  a  letter.) 

RUTH.     (To  MRS.  JORDAN)     For  me? 
MRS.   JORDAN.     No.     Special   delivery   for   Mr. 
Graham. 

(GRAHAM  advances  to  L.  to  take  letter,  leaving 
RUTH  and  MRS.  GRAHAM  opening  packages 
at  R.) 

GRAHAM.  Much  obliged.  I've  been  waiting  for 
this. 

MRS.  GRAHAM.  (Holding  out  picture)  Dick! 
Is  this  nude  woman  yours  ? 

MRS.  JORDAN.    It's  Ruth's ! 

RUTH.  (Much  agitated)  And  this!  (Holding 
out  frame)  Certificate  of  marriage — Richard 
Graham  and  Edith  Carruth!  (They  exchange 
frames) 

GRAHAM.     Bob,  the  bungler! 

BOB.     (Indignantly)     I  ain't  a  bunghole! 

RUTH.  I  regret  having  stumbled  across  your 
secret,  Mr  Graham,  but  naturally 

GRAHAM.  There's  no  reason  for  it's  being  a 
secret  any  longer.  Edith,  old  girl,  we've  got  the 
money. 

RUTH.    Come,  mother. 

MRS.  JORDAN.  Married!  I  think  it's  disgraceful 
(Exit  in  house) 

RUTH.  Well,  I'd  hate  to  tell  you  what  I  think. 
(Exit  in  house) 

BOB.    I  ain't  no  bunghole. 

GRAHAM.     I  didn't  say  you  were  a  bunghole — I 


THE  LITTLE  GRAY  LADY  101 

said  you  were  a  bird.    Take  this  and  blow  yourself 
(Gives  him  paper  bill) 

BOB.  Five  dollars!  (Throwing  arms  up  in 
astonishment,  loses  balance  and  falls  backward  over 
fence) 

(GRAHAM  and  MRS.  GRAHAM  look  at  each  other  a 
moment  and  then  embrace.) 

MRS.  GRAHAM,      rm  so  happy. 

GRAHAM.    And  I ! 

MRS.  GRAHAM.    When  do  we  start? 

GRAHAM.    A  week  from  to-day. 

MRS.  GRAHAM.  It  will  be  like  another  honey 
moon.  (Enter  ANNA  from  house.  To  ANNA.)  The 
cat's  out  of  the  bag  at  last. 

ANNA.  I  know.  I've  heard  the  lamentations  of 
Jeremiah  Jordan. 

GRAHAM.  (Crossing  to  L.  ANNA  at  c.)  I've 
cabled  Carlyle  and  we'll  be  with  him  a  week  after 
he  reaches  Puerto  Cabello. 

ANNA.  I'm  glad  for  him  and  I'm  glad  for  both 
of  you. 

MRS.  GRAHAM.  I  was  just  saying  that  it  will  be 
like  another  honeymoon.  Don't  you  wish  it  were 
your  honeymoon,  Miss  Gray? 

ANNA.  (Turning  from  them  in  deep  emotion) 
My  honeymoon! 

MRS.  GRAHAM.  (Solicitously)  Oh,  I  hope  I 
haven't  hurt  you. 

ANNA.  (Suppressing  her  tears)  No — no.  I 
was  laughing.  Laughing  at  the  thought  of  an  old 
maid's  honeymoon. 

(Enter  JORDAN  from  house.) 

JORDAN.  A  gentleman  in  the  parlor  to  see  you 
Mr.  Graham. 

GRAHAM.     All  right.      (Goes   up  steps)      Come 


102  THE  LITTLE  GRAY  LADY 

along,    Mrs.   Graham.      (She   pays   no   attention) 
Edith ! 

MRS.  GRAHAM.  Oh,  I  didn't  know  my  own 
name! 

(Exit  MR.  and  MRS.  GRAHAM  hand  in  hand,  in 
house.  ANNA  looks  after  them  an  instant,  then 
sinks  down  on  the  steps  and  buries  her  face 
in  her  hands.  The  gate  at  L.  is  opened  slightly 
and  then  wide.  Enter  CARLYLE,  carrying  a 
traveling  bag.) 

CARLYLE.    Anna ! 

ANNA.     My  God!     Perry,  you  didn't  go? 

CARLYLE.  (Puts  down  bag)  I  couldn't.  All  the 
way  to  New  York  the  click  of  the  car  wheels  kept 
saying :  "  Coward  !  Coward  !  "  I  couldn't  do  it. 
I  had  to  come  back. 

ANNA.    But  your  fresh  start? 

CARLYLE.  No  use,  Anna.  That  went  yesterday. 
I  told  you  I  was  going  to  make  a  man  of  my 
self.  I  see  now  that  the  place  to  begin  is  right  here. 

ANNA.    What  are  you  going  to  do? 

CARLYLE.    Give  myself  up. 

ANNA.    Why?    To  break  my  heart? 

CARLYLE.  Don't  you  suppose  that  as  soon  as  I  got 
a  chance  to  think  I  realized  that  my  going  away  was 
going  to  make  it  mighty  hot  for  you. 

ANNA.    But  it  hasn't,  Perry.    You  see  it  hasn't. 

CARLYLE.  I'll  go  on  one  condition  and  that  is 
that  you  go  with  me. 

ANNA.    To  Venezuela? 

CARLYLE.  Why  not?  Anna,  I  love  you.  I've 
always  loved  you.  I've  been  blinded,  fascinated,  a 
fool,  but  I  see  now  in  my  heart  I've  always  loved 
you.  You  believe  me?  Don't  you  believe  me, 
Anna? 

ANNA.    Yes,  I  do. 

CARLYLE.    Then  forgive  me  my  desertion  as  you 


THE  LITTLE  GRAY  LADY  103 

forgave  me  my  dishonesty.  You  tell  me  to  begin 
over  again.  Help  me  to  do  it.  Without  you  I  am 
nothing.  If  you  really  have  faith  in  me,  prove  it 
by  becoming  my  wife. 

ANNA.  I  will.  I  can't  go  now  but  I'll  follow  you 
to  New  York  on  the  next  train. 

CARLYLE.     You  will  do  that?    You  promise? 

ANNA.  Yes  !  Yes  !  Wait  for  me  at  the  steamer, 
or  rather,  don't  wait.  Don't  take  any  risks.  If 
anything  detains  me  I'll  sail  on  the  next  boat. 

CARLYLE.  Then — good-bye,  until  to-night. 
(CARLYLE  exits  at  gate) 

(Enter  MEADE.) 

MEADE.     It's  gone.     You'd  better  clear  out. 

ANNA.    I  will.     (Starts  for  house) 

MEADE.    You  can't  go  that  way.      There's  a 

(Enter  CARLYLE  again.) 

CARLYLE  There's  a  policeman  in  front  of  the 
house.  What's  he  doing  there? 

MEADE.  The  department  sent  him  to  help  me 
arrest  Miss  Gray. 

(ANNA  dazed.) 

CARLYLE.    Arrest  Anna? 

MEADE.    For  putting  together  that  bill. 

CARLYLE.  (Advances  to  him)  I'm  the  man  who 
made  that  bill. 

MEADE.  (With  the  instinct  of  the  thief  catcher; 
seizes  him)  Then  you're  the  man  I  want. 

ANNA.    Perry,  what  have  you  done? 

(At  the  sound  of  her  voice,  MEADE  realizes  that  he 
is  breaking  her  heart.  He  looks  at  her,  then  re 
leases  his  hold  of  CARLYLE  and  walks  up-stage.) 


104  THE  LITTLE  GRAY  LADY 

CARLYLE.  (Going  to  ANNA)  It  was  the  only 
thing  I  could  do.  There  was  no  other  way. 

ANNA.  (To  MEADE)  Surely  you  can  let  him  go. 
Can't  you  send  the  policeman  away? 

MEADE.  Yes;  then  I'd  go  to  jail  when  the  note 
turned  up.  If  I  could  get  that  bill. 

ANNA.    Wasn't  it  sent  to  Baltimore? 

MEADE.  Yes,  I  telephoned.  The  B.  &  O.  office  in 
Baltimore  refused  it. 

CARLYLE.    Then  it  has  been  returned. 

MEADE.    Of  course ;  to  the  Treasury. 

CARLYLE.  Well,  I  guess  it's  all  up!  (Goes  to 
ANNA)  Good-bye.  I  won't  see  you  again  before — 
before — you  mustn't  get  mixed  up  in  this. 

ANNA.  (Seising  both  his  shoulders)  You  musn't 
go,  Perry !  You  can't !  You're  mine  again  now  ! 
There  must  be  some  other  way! 

CARLYLE.  I  guess  it  wasn't  to  be,  dear.  I'm  not 
good  enough  for  you.  You'll  be  better  off  without 
me. 

ANNA.    I  love  you. 

CARLYLE.  It — it  seems  foolish  to  thank  you  for — 
for  everything — for  the  love  that  was  too  fine  for 
me  to  understand.  But  I  do  thank  you.  Good-bye. 
(Walks  to  his  bag  and  picks  it  up.  ANNA  is  sob 
bing)  Now,  Mr.  Meade. 

(Enter  MR.  and  MRS.  GRAHAM  from  house.) 

GRAHAM.  (Surprised)  Hello!  Carlyle!  I 
thought  you  were  on  your  way  to  Venezuela. 

CARLYLE.  (With  an  effort  to  smile)  No;  I'm  on 
my  way  to  jail.  You'll  have  to  get  a  new  manager. 

MRS.  GRAHAM.     To  jail! 

GRAHAM.  To  jail!  (Addreses  MEADE)  Because 
of  that  bill  ?  Why,  surely  we  can  fix  that ! 

MEADE.    If  we  had  the  bill. 

GRAHAM.    Had  it? 

MEADE.    Yes ;  no  bill ;  no  evidence. 


THE  LITTLE  GRAY  LADY  105 

GRAHAM.    I've  got  the  bill.     (Produces  it) 

ANNA.  (Eagerly,  going  to  him)  That  bill! 
Oh,  it  can't  be  true! 

GRAHAM.  (Hands  her  the  note)  See  for  your 
self.  The  man  who  came  to  see  me  just  now  was 
Jones,  the  ticket  agent  who  changed  the  note.  The 
B.  &  O.  threw  it  back  on  him  and  he  held  me 
responsible  because  I'd  introduced  Carlyle.  I  took 
it  up.  Carlyle,  you  owe  me  $100.00. 

CARLYLE  (Shaking  his  hand.  ANNA  gives  the 
bill  to  MEADE)  I  owe  you  more  than  that. 

(GRAHAM  crosses  to  MRS.  GRAHAM.) 

ANNA.  (To  MEADE)  Now,  what  are  you  going 
to  do? 

(MEADE  silently  tears  the  bill  in  bits;  ANNA  'walks 
into  CARLYLE'S  arms.  GRAHAM  embraces  MRS. 
GRAHAM.  The  flute  is  heard  playing:  "Believe 
Me  If  All  Those  Endearing  Young  Charms".) 

Curtain 

(First  curtain:    As  before.    MEADE  walking  silently 
up  into  the  alley.) 


